This Is The Greatest Horror Movie Of All Time – Prove Me Wrong

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Hi, I’m Britt Hayes, a Deputy Editor at MovieWeb. I’ve been a professional movie and culture writer for 16 years, and you might recognize my work from places like The A.V. Club, Birth.Movies.Death, or ScreenCrush.

I’ve loved movies since I was a kid. Growing up, I often spent time alone, and the TV became my companion. I quickly became fascinated with horror films, and even though I’ve written about many different genres, horror remains my favorite. So, when ScreenRant asked me to name the greatest horror movie ever made, I knew right away: it had to be Alien, which is also one of my all-time favorite movies.

Disagree? Take it up with me in the comments.

Alien Was The Chestburster That Horror And Sci-Fi Needed

Joe O’Shea

Alien isn’t only the best horror movie ever made, it’s a truly flawless film. I don’t recall when I first saw Ridley Scott’s sci-fi horror classic all the way through. Actually, I suspect my initial introduction to Alien was the Chestburster parody in Mel Brooks’ Spaceballs – and it’s still a hilariously funny scene.

Like many kids, I was vaguely aware of Alien – I’d absorbed bits and pieces of it over time, similar to how you get to know classics like Star Wars, Jaws, or The Godfather before you’ve actually watched them. This early exposure sparked what would become a full-blown obsession.

Originally released in 1979, Alien wasn’t intended to simply follow in the footsteps of the 1977 hit Star Wars. Instead, it became a hugely influential film, creating a lasting impact on cinema. The movie, written by Dan O’Bannon, is set on the Nostromo, a spaceship towing cargo back to Earth. While traveling, the crew, captained by Captain Dallas (Tom Skerritt), picks up what they think is a distress call from a nearby planet.

When the crew arrives, they find an empty spaceship and the body of a huge alien creature with a noticeable hole in its chest. While investigating, Officer Ripley discovers the distress signal wasn’t a call for help, but a warning. The strange eggs on board hold a dangerous, advanced alien species. Even more frighteningly, this alien needs human hosts to complete its life cycle.

After the spaceship Nostromo is damaged, the crew – including Kane, Ash, Lambert, Brett, and Parker – find themselves fighting for survival against a terrifying and completely unknown creature called the Xenomorph.

The Xenomorph Is A Walking Nightmare, Sigourney Weaver Is A Dream Heroine

Joe O’Shea

The Xenomorph, a truly frightening creature, was created by German artist H.R. Giger. It combines the look of human biology with mechanical details, a concept Giger called biomechanics. The creature was brought to life through impressive practical effects, with Nigerian artist and design student Bolaji Badejo, at 6’10” tall, performing the role. Stunt performers Eddie Powell and Roy Scammell also contributed to the more challenging scenes, making the Xenomorph one of the most memorable monsters in film history.

I often recall a quote by the late film critic Roger Ebert: “It’s not the subject of a movie that matters, but how it’s presented.” This really applies to Alien, where everything – the visuals, the story, and the underlying ideas – all come together perfectly, creating a truly unified experience.

The film’s unique, vintage-industrial set design adds depth and realism, drawing viewers into the story. This makes even the most fantastical scenes – like the alien attack on Kane – feel surprisingly believable and immediate.

Beyond Sigourney Weaver’s unforgettable performance, what truly elevates Alien to a horror classic are the powerful themes woven throughout the film. Interestingly, while director Ridley Scott initially envisioned Ripley as a male character, the script was cleverly written so that any of the characters could be played by an actor of any gender.

Choosing Sigourney Weaver to play Ripley was a brilliant move. Whether planned or not, it highlights the complex psychological themes in Alien and reinforces the film’s problematic portrayal of women.

Giger’s design for the Xenomorph unfolds in stages. It begins with the egg, called the Ovomorph, which is a classic symbol of birth and new life. From this egg emerges the Facehugger, a spider-like creature with a unique opening that extends a tube-like structure, forcefully inserting itself into a host – a process visually similar to impregnation.

Then there’s the Chestburster, small and hinting at something more, and ultimately, the fully grown Xenomorph. This classic alien features a long, suggestive head and skin that resembles rubber and latex – materials often linked to fetishistic interests.

I won’t delve into a lengthy discussion about sexual violence and oppression, but having a woman play Ripley powerfully highlights these issues, especially in the film’s final act when Ash’s true nature is revealed. That climactic scene is deeply disturbing visually and physically, partly due to the gender roles at play. However, the way Ripley ultimately handles the situation is incredibly satisfying and empowering.

The way the Facehugger attacks Kane is deeply disturbing, resembling a sexual assault. This is unsettling because it flips traditional expectations – in stories and in reality, women are usually the ones depicted as victims of such violence. It subconsciously challenges our ingrained ideas about who is vulnerable.

Looking at the big picture, many of the problems in Alien could have been avoided if the crew of the Nostromo had simply listened to Ripley. She correctly identifies the distress signal as a warning, and she’s right to insist that anyone exposed to the alien eggs be isolated – but her concerns are dismissed by Ash. It’s therefore fitting that Ripley ultimately ends up in command of the ship as the rest of the crew falls victim to the alien.

Alien Isn’t A Monster Movie; It’s A Capitalist Horror Story

Joe O’Shea

What really stuck with me about Alien, and honestly feels even more relevant now, isn’t just the monster, but the shadowy corporation pulling the strings. The Weyland-Yutani company is always there, looming over everything, and it’s clear they care more about capturing the alien than the crew’s safety. It adds a whole other layer of dread to the story.

The Nostromo is a ship designed to transport automated factories for processing oil and minerals between Earth and its colonies in outer space. This hints at a future where humans have settled other planets mainly to extract their resources. The ship’s systems are controlled by Mother, a sophisticated computer that can interact with the crew and is programmed to obey commands.

In Alien, Ripley learns that the ship’s computer, Mother, was secretly programmed by the Weyland-Yutani Corporation to prioritize the mission over the lives of the crew. Alien portrays a future where powerful corporations use artificial intelligence to maximize profits and maintain control, viewing ordinary workers as disposable assets.

It’s not a big jump from where things stand now. (The later parts of the series do explore these ideas more deeply, making the connection to today’s issues even clearer.)

Watching Alien, it’s easy to get caught up in the scares, but what really stuck with me wasn’t just the monster. It’s the way the crew of the Nostromo are treated – not as people, but as expendable assets. It’s not simple sexism at play here, it’s ruthless corporate greed that fuels the horror. And that’s what makes this sci-fi film so brilliant – it doesn’t feel distant or futuristic. The environments and characters are grounded in reality, and that’s why it’s so effective; we recognize the forces at play, even in space, and that’s what truly terrifies us.

This holds true even more strongly in horror movies, where it’s crucial for viewers to feel the danger is genuine and happening right now. While many horror films succeed at this, very few do so with such a deep understanding of the human mind and such stunning visuals.

Also, there is a cat.

Do you disagree with our pick for the greatest horror movie of all time? Share your own choice in the comments below – we’d love to hear what you think!

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2025-10-31 18:01