"[first lines] My planet Arrakis is so beautiful when the sun is low. Rolling over the sands, you can see the spice in the air. At nightfall, the spice harvesters land. The outsiders race against time to avoid the heat of the day. They ravage our lands in front of our eyes. Their cruelty to my people is all I've known. These outsiders, the Harkonnens, came long before I was born. By controlling spice production, they became obscenely rich. Richer than the Emperor himself. Our warriors couldn't free Arrakis from the Harkonnens. But one day, by imperial decree, they were gone. Why did the Emperor choose this path? And who will our next oppressors be?"

"When you cross blades with a Sardaukar, you'll know it."

"For hundreds of years, we've traded blood for blood. But no more. Your son is dead. Your concubine is dead. Tonight the House of Atreides falls. And your bloodline ends forever."

"Josh Brolin – Gurney Halleck"

"Goodbye, young human. I hope you live."

"Zendaya – Chani"

"[reciting the Litany of Fear] I must not fear. Fear is the mind-killer. Fear is the little-death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its path. Where the fear has gone there will be nothing. Only I will remain."

"[Final words] Here I am. Here I remain."

"A great man doesn't seek to lead, he's called to it. And he answers. But if your answer is “no,” you’d still be the only thing I ever needed you to be – my son."

"David Dastmalchian – Piter De Vries"

"An animal caught in a trap will gnaw off its own leg to escape. What will you do?"

"The mystery of life isn't a problem to solve, but a reality to experience. A process that cannot be understood by stopping it. We must move with the flow of the process. We must join it. We must flow with it."

"May thy knife chip and shatter."

"Chang Chen – Dr. Wellington Yueh"

"Golda Rosheuvel – Shadout Mapes"

"It Begins."

"Shadout Mapes: When you have lived with prophecy for so long, the moment of revelation is a shock."

"Sharon Duncan-Brewster – Dr. Liet-Kynes"

"Roger Yuan – Lieutenant Lanville"

"Timothée Chalamet – Paul Atreides"

"Benjamin Clementine – Herald of the Change"

"Jason Momoa – Duncan Idaho"

"The Emperor sent us to this place. And my father came, not for spice, not for the riches, but for the strength of your people. My road leads into the desert. I can see it. If you'll have us, we will come."

"Introductory placard: Dreams are messages from the deep."

"Dune (1984 film)"

"Beyond Fear... Destiny Awaits."

"Narration Recorder: Extreme temperatures and treacherous weather events make life outside the cities of Arrakis truly hostile, with sandstorms powerful enough to cut through metal. Only the native tribes known as the Fremen have adapted well enough to survive. Preferring to inhabit the remotest regions of Arrakis, the Fremen share the deep desert with the giant sandworms known to the Fremen as Shai-Hulud. Long exposure to spice has given the tribe their characteristic blue eyes, the Eyes of Ibad."

"Liet Kynes: Bless the Maker and His water. Bless the coming and going of Him. May His passage cleanse the world. And keep the world for His people."

"Javier Bardem – Stilgar"

"Narration Recorder: The largest and most dangerous organism on Arrakis is the sandworm, capable of reaching 400 meters in length. To avoid making rhythmic noises, which attract the sandworms, the Fremen cross desert spaces using the sandwalk, a dance-like motion with irregular rhythm which emulates the natural sounds of the desert."

"Babs Olusanmokun – Jamis"

"Dune (novel)"

"Charlotte Rampling – Gaius Helen Mohiam"

"Dune: Part Two"

"Brad Dourif ~ Dr. Jonathan Gediman"

"J.E. Freeman ~ Dr. Mason Wren"

"Winona Ryder ~ Annalee Call"

"Sigourney Weaver ~ Ellen Ripley Clone 8"

"Ron Perlman ~ Johner"

"What really separates A:R from its predecessors is its morbid sense of humour. Positioning itself as a carnival of weirdness rather than an all-out scare-flick, it amps the gore up to Shakespearean levels and, most shockingly, a number of deaths are played entirely for laughs (see cross-eyed General Perez plucking out the contents of his skull). It's a brave move by French director Jean-Paul Jeunet. In stark contrast to David Fincher's experiences on Alien 3, Jeunet was given free rein to do whatever he wanted (within the $70m budget; the biggest of any of the Alien films), and while he kept most of Whedon's script intact, Jeunet's weird humour is all over Alien: Resurrection.–"

"If Alien was sinewy like a xenomorph and Aliens was pumped-up like the Alien Queen, Alien: Resurrection is as grotesque and mesmerising as the newborn. Whedon may have hated it, but he's hardly the first writer to disown his work. (Besides, he went on to make Firefly, which features just about the exact same set of characters - Johner is now Jayne, with Reavers standing in for xenos and so forth). "It's kind of like a really cool art film," Winona Ryder recently surmised of Alien: Resurrection, and she's right. Like art, it's unapologetic and singular in its vision, and it's a shame that the enticing open ending never developed into an immediate sequel. It's also odd that Marvel man Whedon isn't a fan - while the previous Alien films were all sci-fi horrors, there's something distinctly comic-booky about Alien: Resurrection. Perhaps it was just a little ahead of its time."

"Kozak: I thought your original screenplay for “Alien: Resurrection” was brilliant – with its epic final battle on Earth, for Earth – and vastly more engrossing than what ultimately made its way to the screen. I have to assume there were budgetary issues, because I can’t imagine another reason anyone would tinker with it."

"Whedon: The history of “Alien: Resurrection” is fairly twisted also because I wrote a 30-page treatment for a different movie. They wanted to do a movie with a clone of Newt [the little girl from “Aliens”] as their heroine. Because I’d done some action movies and I’d done “Buffy,” they said, “Well, he can write teenage girls and he can write action, so let’s give him a shot.” The franchise was pretty much dead, and I wrote the treatment and they said, “This is really exciting. We want to get back in this business. But we want Ripley. So throw this out.” That one was probably my favorite; I think it was a better-structured story than the one I ultimately wrote."

"Dan Hedaya ~ General Martin Perez"

"As movie spawns go, "Alien Resurrection" is a clumsy, plodding child having a big hissy fit. The cluttered, surreal, claustrophobic sets and gooey alien creatures look intriguing, sometimes shocking. But the story tries so hard to be imaginative that it congeals and sinks like lead. This film should be an amazing thrill ride, but it has the emotional impact of a bowling ball at rest. The scene that gets the biggest response is one showing just how hairy actor Dan Hedaya is (he plays a spaceship captain), and he's not even an alien. No doubt the intensely violent production, opening today in time to gross out Thanksgiving holiday moviegoers, will do stratospheric box-office business. But staying power is another question."

"As almost always with sequels, the "Alien" spawn have gotten dopier as they've gone along. Yet each has had the saving grace of a distinctive look. "Alien Resurrection" is easily the most visually interesting of all. Credit it to French director Jean-Pierre Jeunet, who imported his surrealistic, horrific ideas direct from "Delicatessen" and the superb "The City of Lost Children." Jeunet blended darkness, heavy metal, repugnantly weird things in specimen vials, an underwater sequence, a feeling of paranoia and an almost determined lack of humanity. And he also brought two of his favorite actors: big Ron Perlman to be a jackbooted bad guy, and Dominique Pinon to get a few laughs as a pipsqueak. Winona Ryder is the biggest new attraction in the series. Her character, Call, is the only soft, humane creature within several light-years of the -- sprawling spaceship Auriga, where the action takes place. Eventually it is revealed that 12 hissing, hungry aliens, products of evil biology experiments, are headed toward Earth. Ryder, arriving with a crew of smugglers, looks almost too doll- like to be hanging around the tough, cynical or maniacal types that populate the film's cavernous, clanking world. But her big button black eyes and that intense focus she has at just the right dramatic moment wind up providing the only dollop of humanity. And it's much needed."

"Sigourney Weaver, in this fourth in the "Alien" series, returns as Ripley, the tough heroine who has been dallying with the toothed aliens since 1979. Weaver has weathered the experience much better than the films have. She's lithe and sexy in that no-nonsense action-hero way. About that much-discussed backward basketball shot she makes -- Weaver looks like the type who could pull it off."

"As directed by Jean-Pierre Jeunet, half of the duo behind Delicatessen and City of Lost Children, Alien Resurrection has an eerie grunge look (with cinematography by the inventive Da-rius Khondji) and a sometimes ghastly sideshow atmosphere. The characters this time, with a cast including Dan Hedaya, Brad Dourif and Ron Perlman, tend to be surly miscreants, and the story has more kinks. Winona Ryder wears Army boots as a crew member of the Betty, a small ship that docks with the Auriga to engage in illicit business and stays long enough to fight the evil beasts. Tauntingly flirtatious scenes between Ms. Ryder and Ms. Weaver give this film a sexual boldness that the others' action-adventure spirit lacked. Fierce, beautiful and sardonic, Ms. Weaver makes an impressive linchpin for this series, even if she can't make it palatable for the faint of heart. When Mr. Jeunet's well-established taste for the grotesque yields an episode worthy of a circus sideshow, with hideously malformed creatures floating in glass containers and a grisly secret about Ripley's past ready to emerge, not even Ms. Weaver and her flamethrower can triumph over the sequence's extreme nastiness."

"Speaking of the movie’s darkness, Alien Resurrection’s lush visual palette is an immediately striking and evocative change of pace for the series. Each movie in the franchise had a unique visual style, whether it’s the burnt-orange and metallic grey post-apocalyptic look of Alien 3, the sleek steely blues of Aliens, or the grimy, black-green fetid darkness of the first installment. To be fair, Alien Resurrection made use of its large budget by creating a new, distinct Gothic-influenced green-tinged color palette for this installment. The only problem is that for anyone not accustomed to Jeunet’s highly stylized look, marrying the style he established in earlier releases Delicatessen and The City of Lost Children with the world of Alien is a tall order. The movie’s green patinas lend a sickly look to proceedings and, by the time it was released, the likes of Tank Girl, Judge Dredd, and The Fifth Element had boasted similarly striking visual palettes without looking quite so garish. When a movie makes Tank Girl look less than garish, it’s cause for concern."

"Perhaps it counts as a compliment among those who appreciate the dripping, throbbing, drooling intensity of the Alien movies to say that the series' latest installment is its most freakish and macabre to date. But Alien Resurrection, the fourth installment and the one that comes closest to suggesting there may be rain-slicked dark alleys in space, also offers the most buff and sexily insolent incarnation of the aliens' favorite antagonist, Sigourney Weaver's Ripley. And this time it's personal: much of Ripley's new swagger comes from the fact that she now apparently has alien blood, or slime, or ooze, or whatever it is, coursing through her veins."