I'm ready, man, check it out. I am the ultimate badass! State of the badass art! You do not wanna fuck with me. Check it out! Hey Ripley, don't worry. Me and my squad of ultimate badasses will protect you! Check it out! Independently targeting particle beam phalanx. Vwap! Fry half a city with this puppy. We got tactical smart missiles, phase-plasma pulse rifles, RPGs, we got sonic electronic ball breakers! We got nukes, we got knives, sharp sticks...
- Let's roooooock!!!
- It has dire consequences but Vasquez pinning a drone down with her foot and shooting it at point blank with a pistol is awesome.
- As the tank is escaping with the marines, an alien begins to force the door open. Hicks picks up his shotgun and shoves it down the aliens' throat. "Eat this!" Hudson gets acid burns on his arm for the trouble.
- Related to both the above, the fact that the aliens can injure, maim, or kill their targets even while they're dying is awesome, in a terrifying kind of way.
- After being trapped with the facehugger, Ripley signals for help from the marines, and they make their way down to sickbay, where they're momentarily horrified. What does Hicks do to save Ripley and Newt? He jumps through a glass window and starts wrestling with the facehugger to keep it away from Ripley. And what about Newt? She gets saved by HUDSON, who single-handedly shoots her creature to bits. The fact that the latter was proclaiming "Game Over" just a short time ago only elevated the scene's level of badass.
- A moment of respect for Newt, a terrified little girl who manages to fight and stave off a creature that's killed grown-ass men armed with flamethrowers. The terrified girl who survived for weeks with no weapons and no training.
- "You always were an asshole, Gorman."
- Hudson screaming "Fuck you!!" even as he's being dragged to his death by the aliens. Especially when he shoots the one that ambushed him right in the face with his rifle.
- Bishop's Big Damn Gunships moment.
- Ripley strapping on a flamethrower and a pulse rifle together to go save Newt is the moment when Ripley went from mere Action Survivor to full-on badass. Up to this point she has barely fought the monsters, received minimal training to fight them, had all the reasons not to go back into the alien hive, and yet she marches right into the gates of hell itself to save the little girl whom she's come to treat as a daughter. Character Development does not come any more defining or awesomely, people.
- Even more striking when you remember that the climax of the previous film had Ripley running around in near hysterics trying desperately to flee from just ONE Alien; now she's willingly going into a hive filled to the brim with them to save Newt. Character Development, indeed.
- When she's retreating from the Queen's nest with Newt in her arms, and an egg ominously opens up next to her, Ripley cocks her head to one side, as if to say, "Well, that's it. Now you're toast." and torches the entire room with her flamethrower before blowing the holy shit out of the Queen's egg sack with pump-action grenade after pump-action grenade.
- Right before that is a fantastic scene that establishes the Queen as, well, the Queen, and not one of the instinct-driven drones we've gotten accustomed to; as Ripley and Newt slowly start to back away from the egg chamber, the Queen hisses and two drones approach - on on the left, one from the right. Ripley fires her flame thrower toward one of them, the Queen hissing in anger, and then she points the weapon at the eggs, and glares at the Queen, who immediately signals to the drones to back off.
- When the alien queen comes out by surprise and splits Bishop in half. That's some practical effects right there.
- Just the Alien Queen! This was in the time before CGI everything and that is the biggest fully-functioning monster puppet ever made. And the result? Quite possibly the single most awesome monster ever seen on the screen! CGI just can't replicate that level of terrifying realism!
- How about the entrance of the freakin' power loader?! Picture this: The Dwindling Party is down to three uninjured members, one a child, the second an untrained civilian, and the third is quickly taken out of the fight by the biggest, meanest Alien of all. They've got no weapons, no backup, nowhere to run. The civilian escapes behind a blast door while the child hides in a drain, but is hunted by the Alien. When all hope seems lost and the Alien is about to devour the child, the blast doors open, and silhouetted in the darkness, strides forth a mech almost as big as the Alien, servos whirring, footsteps clomping, closer and closer towards its giant nemesis, and the rider inside issues forth the immortal challenge:
- "I remember seeing the film, midnight screening on Hollywood Boulevard, and that line brought the house down. People stood up and cheered. It's probably the most gratifying moment of my producing career, was the reaction to that shot." — Gale Anne Hurd
- The battle itself is not only awesome, but it's quite rare to see two Mama Bears duke it out in the form of Ripley who was defending Newt and the Queen who is pissed because Ripley and Co. blew up her babies.
- When the power loader overpowers the Queen and has it Thrown Out the Airlock, it just grabs it's leg and drags it in too, doing everything it's power to make sure Ripley goes down with it. You have to credit Ripley who manages to hold on despite the blatant agony the Queen tugging at her causes as it is sucked into space.
- And then Bishop follows with one of his own: despite being torn in half, he manages to save both himself AND Newt when the airlock is sucking them out of the ship.
- You know its awesome when Bishop says after the entire fight scene, "Not bad for a human."
- A meta-example, Sigourney Weaver getting nominated for Best Actress in a sci-fi/action/horror film which both then and now is almost completely unheard of.
- The director gets a CMOA of his own: In the space of 12 minutes of pure adrenaline we go from a stable situation to complete disaster (squad almost annihilated, dropship destroyed, aliens awake and aware of human presence, night coming). On first watching it is quite shocking, the late Roger Ebert said it best during his review of the movie:
Roger Ebert: I have never seen a movie that maintains such a pitch of intensity for so long; it's like being on some kind of hair-raising carnival ride that never stops.