"As a series of action set pieces, the movie is frequently gripping and always highly watchable. In one extended section — geographically reminiscent of “The Poseidon Adventure” with its underwater swim and vertical climb — there’s a real sense of claustrophobia as the beasties pursue their human lunch underwater, and the “Goldfinger”-like demise of the final alien is a typically imaginative tour de force. Editing by Jeunet regular Herve Schneid is especially tight (pic is the shortest of the quartet). Darius Khondji’s lensing, aided by the silver-added ENR printing process, emphasizes deep blacks and soft ochers, with flashes of electric blue supplying visual relief. Nigel Phelps’ production design crosses geometrical sets and clangy brute iron with the Victorian-industrialized look of Jeunet’s own “Lost Children.” Whedon’s script injects some of the rough, testosterone humor of “Aliens” into a story that tries to build on the cross-species subtext of “Alien3.” However, when the movie strays into weirder territory — where, one feels, Jeunet’s heart really lies — there’s a growing feeling of inadequacy. Pic’s interest in Ripley’s split, half-human personality and her maternal bond with the Queen leads to some of the most intriguing — and cheesiest — stuff in the picture, but overall come off more as exotic inserts than fully assimilated sequences. Upside moments include the discovery of a horrific lab (straight out of “Lost Children”) and Ripley’s late-on “embrace” of her fearsome offspring; downside is a laughable Newborn that all but blows the pic’s finale."