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On their voyage home, the crew of the deepspace tug Nostromo investigate a transmission from a desolate planet and discover a mysterious lifeform.
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" a% X- l6 x2 X- c* W" m& P◎译 名 异形/异形杀手
1 H% {6 l5 H$ H$ \8 ~1 b$ J2 c+ `◎片 名 Alien / Star Beast
8 c" y, z) d+ ^" O) r◎年 代 19791 r% g6 Z6 L/ P$ l
◎产 地 英国/美国4 X- A, J6 H; P+ o$ G) _) x
◎类 别 科幻/恐怖
' H2 t% o5 A# C3 ~9 ]* w◎语 言 英语/西班牙语( I5 [- m8 R# [) A; ]5 | M8 g: P9 f
◎上映日期 1979-05-25(美国)
4 y+ X5 ?0 ]5 B) f n◎IMDb评分 8.5/10 from 705,461 users
% W C3 b% N! L! L9 m6 l$ Y. o+ G◎IMDb链接 https://www.imdb.com/title/tt0078748/
9 H" c6 k! y% ? B! h4 L. Y* L' Q◎豆瓣评分 8.1/10 from 128,209 users3 k" ^# a% V& C7 P: z/ ]
◎豆瓣链接 https://movie.douban.com/subject/1300868/! q% k3 W. G7 `- T) \* k
◎文件格式 x265 + DTS : f0 K4 `2 _$ {; }3 K, p8 y2 |
◎视频尺寸 3840 x 2160
7 I8 G# ^2 e) t: S+ G7 @- K◎文件大小 1DVD 83.62 GiB
& L0 U6 v8 G$ v7 [$ s◎片 长 1:55:49.275 (h:m:s.ms), f) D5 \, W' k
◎导 演 雷德利·斯科特 Ridley Scott
: V- c. t4 d8 ~ ~2 B8 a◎编 剧 丹·欧班农 Dan O'Bannon
0 q D; N: ` `' K1 B) ^ 罗纳德·舒塞特 Ronald Shusett+ o+ i- O/ [% L* a
◎主 演 西格妮·韦弗 Sigourney Weaver. A1 u) x7 c9 U! X
汤姆·斯凯里特 Tom Skerritt
& l. [/ Y0 y6 L8 v, \' D" | 维罗尼卡·卡维特 Veronica Cartwright) k+ `# U/ ?1 [" [
哈利·戴恩·斯坦通 Harry Dean Stanton+ ], N$ a) @; N
约翰·赫特 John Hurt5 N( `8 L9 e2 z
伊安·霍姆 Ian Holm9 j6 d7 D+ E; N$ R
亚非特·科托 Yaphet Kotto
6 T+ b# m) R2 a, h. S9 a7 \$ C( A F% [ 博拉吉·巴迪乔 Bolaji Badejo
; @0 |# K7 n3 E% l q w' m 海伦·霍顿 Helen Horton
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; U1 O+ T; J4 U" [, \5 P4 ]; @◎简 介
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4 D- h% y1 ~3 g$ Z) a7 U+ O 未来的世界，人类已能轻松穿梭于星际之间，在太空中展开商业活动。“诺史莫”是在太空活动的众多星际商业运输船之一。一次，它完成任务满载太空矿石返航地球时，突然收到了一组奇怪的信号，由于这可能是求救信号，飞船接到指令前往信号源地进行搜救。" k8 ~1 G2 Z+ C1 E: O1 K
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经过一段飞行后，飞船终于抵达信号源发出的地方。船员们发现此处果然有一艘坠毁的飞船，只是，经过一番搜索，他们发现该船的船员们都早已死亡，化为化石。此时，留在“诺史莫”号的第三指挥官里普利已经破译出该信号并不是求救信号，而是警告信号！队员的生死搏斗开始了！
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After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
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5 |5 Q% t6 }( S1 ~/ u: f◎获 奖 0 e9 _. ^0 D# Z8 P) W; S+ N
2 S; V7 ?4 r; P( Q3 H1 c 第52届奥斯卡金像奖 (1980)( z# J9 k' J. M' y! E
最佳视觉效果 H·R·吉格 / 丹尼斯·艾林 / 卡罗·兰巴尔迪 / 布赖恩·约翰逊 / 尼克·阿尔德1 K3 q& \+ K8 X
最佳艺术指导(提名) 迈克尔·西摩 / 罗杰·克里斯蒂安 / 莱斯利·迪利 / 伊恩·惠特克
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( _' Z; v/ T& Q% dMaximum Overall bit rate: 109 Mb/s
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English - 28.566kbps, Spanish - 23.333kbps, French - 20.434kbps, Spanish - 21.315kbps, Danish - 18.669kbps, Dutch - 17.708kbps, Finnish - 20.774kbps, German - 23.530kbps, Italian - 21.164kbps, Japanese - 10.683kbps, Japanese - 10.428kbps, Norwegian - 19.843kbps, Swedish - 20.067kbps, Chinese - 14.893kbps, Czech - 18.534kbps, Korean - 14.240kbps, Chinese - 13.603kbps, Polish - 18.964kbps, Thai - 16.694kbps, English - 84.914kbps, French - 74.455kbps, Spanish - 70.358kbps, German - 85.189kbps, Italian - 75.871kbps % C" |6 g. H4 a. B7 s1 w
Japanese - 48.192kbps, English - 53.808kbps, French - 47.768kbps, Spanish - 49.447kbps, German - 57.138kbps, Italian - 52.486kbps, Japanese - 33.018kbps ' [$ r7 G1 O* O
Audio Channels:
9 m7 k' P% [9 w( z4 m/ gDTS-HD Master Audio English 3427 kbps 5.1 / 48 kHz / 3427 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)) G1 D" J& s r8 X# j
DTS-HD Master Audio English 2980 kbps 4.1 / 48 kHz / 2980 kbps / 24-bit (DTS Core: 4.1 / 48 kHz / 1509 kbps / 24-bit)
5 e+ `7 N9 P$ p# ?* Q, fDTS-HD Master Audio English 1999 kbps 2.0 / 48 kHz / 1999 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)% u* r& G/ [9 }% P& L
Dolby Digital Audio Spanish 448 kbps 5.1 / 48 kHz / 448 kbps / DN -31dB. I* H6 T% v4 m. b( @# L
DTS Audio French 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
7 A3 y- i" w% ^' i* i, e6 H( A9 \DTS Audio Spanish 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
4 _, v5 K, U8 t" R* S5 _* ?DTS Audio German 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
1 I. s* @$ i# U8 C( E% }DTS Audio Italian 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit
% [4 _/ U) H- J: ?. }' J3 m* Dolby Digital Audio Japanese 192 kbps 1.0 / 48 kHz / 192 kbps / DN -31dB# X: ]: @1 I5 W ?
* DTS Audio Japanese 768 kbps 5.1 / 48 kHz / 768 kbps / 24-bit; M1 Z5 g; _1 A) K. R T o% m
Dolby Digital Audio Czech 448 kbps 5.1 / 48 kHz / 448 kbps / DN -31dB
/ F8 i0 Y, v* {: ?, l' H+ zDolby Digital Audio Thai 448 kbps 5.1 / 48 kHz / 448 kbps / DN -31dB) X0 v& I/ a) l: F7 V1 L* R2 A" t4 e1 s
Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -31dB
1 P" N4 E. F& `Dolby Digital Audio English 224 kbps 2.0 / 48 kHz / 224 kbps / DN -31dB
! m6 I/ V0 P7 ZDolby Digital Audio English 448 kbps 5.1 / 48 kHz / 448 kbps / DN -31dB# U. G+ m4 ]) c) X$ t/ i
Dolby Digital Audio English 448 kbps 5.1 / 48 kHz / 448 kbps / DN -31dB% n/ P# b7 y% m( G _2 _
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IMPORTANT INFO: THIS IS THE COMPLETE 4K UHD BLU-RAY DISC.
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; ], }3 c$ f$ z4 i+ R/ Y+ v y/ GNote: Screenshots are sourced from the 1080p Blu-ray.
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& o1 ]6 Q# \$ r- @Alien is presented on 4K UHD courtesy of 20th Century Fox Home Entertainment with a 2160p transfer in 2.35:1. The initial PR blast sent to me by Fox states:The film was restored in 4K in 2018 by 20th Century Fox at Company 3/Deluxe Entertainment Services Group, supervised by Ridley Scott and Pam Dery, with the 4K scans were done [sic] at EFilm. This is a largely incredible looking upgrade, especially in keys areas of clarity, detail levels and probably especially shadow detail. As fans of the film are most likely already well aware, huge swaths of the story take place in extremely dark conditions, and there is a whole host of new details noticeable now in previously hidden nooks and crannies. Overall clarity is also materially improved throughout the presentation, with a really solid uptick in fine detail levels, even when lighting conditions aren't optimal. The improvements in clarity going rather deep into the frame continually impressed me — for just one admittedly mundane example, keep your eyes peeled in the early tracking shots through the spaceship, and when the little "bobbing" toys appear in the background, you can make out details on them that are simply MIA in the 1080p Blu-ray version. Our Forum on this title is virtually exploding (chest cavities beware) with opinions on the color grading of this release, and I have to frankly state I didn't see a huge difference in the overall palette here courtesy of HDR. Yes, there is definitely improved saturation, but in terms of general color temperature, things looked relatively similar to my eyes when doing a side by side comparison with the 1080p Blu-ray (my home theater is set up so that I can pretty much toggle between 2160p and 1080p versions played through two separate players). That said, there are some subtle but noticeable differences, starting as soon as the credits sequence, where the effulgent glow from behind the planet looked slightly more green-yellow to me in the 4K UHD version than on the 1080p Blu- ray. The yellows of the "pod" scenes with Dallas interfacing with "Mother" also have a somewhat more burnished, honey like glow in this version. The most appealing differences to me were in the big final showdown sequence, where the flashing lights surrounding Ripley offer some really beautiful oranges and reds that are considerably more vivid and nuanced than in the 1080p Blu-ray version.
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: {! B5 x4 O- Z6 K" Q( I/ ~) ENow on to the element which may provoke a bit of controversy, at least with regard to my personal perceptions. I have frequently stated in my reviews of 4K UHD product that I haven't always been totally "convinced" by how grain looks in the increased resolution this format offers. My complaints in this regard have been mostly leveled at Lionsgate releases, where grain can frequently look noisy or swarm like, and where it can kind of hang or freeze in unnatural looking ways. Now, Alien is frequently a very grainy looking outing, and some sequences here, notably a bunch with the white backgrounds of the spaceship, just looked a little odd to my eyes. The "awakening" scene is probably exacerbated by a bunch of optical dissolves, but if you keep your eyes peeled toward the upper section of the frame, the grain kind of swarms and clumps weirdly and just doesn't look completely natural to my eyes. While this chunkiness is probably most noticeable in the more brightly lit scenes, it isn't confined to them — there's a brief view "outside" at circa 23:06 which is swathed in darkness and mist where the same clumpiness accrues. Other viewers may well find the grain resolution well within the bounds of what they feel is "organic", but I personally had a few passing if admittedly niggling qualms in this regard. It never approached the levels of some of the more problematic Lionsgate releases I've personally reviewed, but it stuck out enough to me that I felt it warranted mentioning.! p6 _# M" ?1 _3 Z
8 l' t. ?7 V( \- l7 c0 K' g6 d+ EAll of this said, this is undeniably a major upgrade in video quality, with manifestly increased detail levels and a really appealingly saturated palette. To my eyes, the most significant upgrade here is with regard to shadow detail, which is materially improved in this version.
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1 }: f7 M9 x8 eThe Director's Cut also available on this disc is not all native 4K, and there are some noticeable variances in image quality that give things an at least slightly more heterogeneous look than on the Director's Cut on the 1080p Blu-ray. For that reason, some may actually prefer the Director's Cut at the lower resolution of the 1080p Blu-ray.
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Note: As linked to above, my colleague Casey Broadwater wrote an exhaustive review of the Alien Anthology, and I refer interested readers to that review for Casey's assessment of the video quality of the 1080p Blu-ray included with this release.4 a4 u/ a8 g, M( g1 M
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Alien 4K Blu-ray, Audio Quality
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In what may be at least a minor letdown for some audiophiles, the 4K UHD version does not include a new Dolby Atmos or DTS:X mix. The disc repeats the same excellent DTS-HD Master Audio 5.1 mix which Casey assessed in his Alien Anthology Blu-ray review. I've ported over Casey's score from that review to this one. The DTS-HD Master Audio 4.1 track on this disc, listed as recreating the original theatrical experience, has really appealing surround activity, and I frankly didn't notice a whale of a lot of difference in the imaging and separation as I toggled back and forth between it and the 5.1 track. LFE on both the 5.1 and 4.1 tracks is quite impressive.
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