10 Awesome Alien Invasion Movies That Are Worth Your Time
With Independence Day: Resurgence upon us, aliens look set to invade the box office this summer. It’s been 20 years since Roland Emmerich’s sci-fi blockbuster crash landed and grossed over $800 million worldwide, showcasing extraterrestrial threats at their most bombastic, brainless, and bodacious. Now, with the sequel, he looks set to continue in that vein, providing the type of big budget extravaganza audiences appreciate during the summer season.
However, throughout the years, alien invasion flicks have come in all shapes and sizes. In America they gained traction midway through the 20th century during an unrest period, a time when people lived in fear of foreign ideologies imposing themselves on their culture. As the decades progressed, the alien invasion film would continue to prove itself as a popular hallmark sub-genre in science fiction, evolving in many forms.
Now is a better time than any to look back on some of the great alien invasion movies. Limiting the list to 10 was damn near impossible, but the aim was to make it diverse and cater to a wide array of different tastes. Still, I’m overridden with guilt due to the amount of incredible flicks I had to leave out. Now I know how it feels to leave a pet store with an adorable bunny rabbit knowing that the others will remain there alone until someone comes along to home them.
What are some of your favorite alien invasion movies? Which ones should I be imprisoned for leaving out? Are there any unseen gems you’d recommend? Sound off in the comments, and let us know.
Earth vs. the Flying Saucers (1956)
The alien invasion movie was at its peak in American cinema during the 1950’s following the outbreak of Cold War panic and fear of Communism. Much like a real extraterrestrial invasion would be, Communism was perceived as an otherworldly threat to American culture, and these films encapsulated the hysteria by posing allegories of totalitarian rule trying to impose itself.
Earth vs. the Flying Saucers had no qualms about striking that fear in American audiences. There is even a scene where a UFO attacks the White House and other capital monuments – which many interpreted as a metaphorical attack on democracy by foreign regimes. However, in the film, it’s American soldiers who are first to fire and start the conflict between humanity and the beings from outer space, which says more about our race’s fear of lashing out against the unknown instead of trying to understand it.
Most impressively, the film boasts some outstanding special effects courtesy of the wizard Ray Harryhausen, who animated the flying saucers with impressive stop-motion animation. Some scenes also served as stock footage for subsequent sci-fi films and television shows, most famously appearing in an episode of the 1985 revival of “The Twilight Zone.’’ Earth vs. the Flying Saucers is an intelligent science fiction film that still holds up remarkably well by today’s standards.
The Mysterians (1957)
The Mysterians is a Tokusatsu film directed by the legendary Ishirô Honda. Honda was an iconic filmmaker in his homeland, renowned for directing many popular Toho Godzilla movies – along with other kaiju and science fiction fare.
In The Mysterians, an endangered alien species arrives on Earth to demand a tract of land for their race to live on. They also want to breed with the human women so their race can repopulate. As we all know, alien demands never go down well in films of this ilk – and naturally, it leads to a disagreement and subsequent warfare ensues. There’s also a giant robot for our heroes to contend with on top of the horny alien invaders.
The Mysterians is up there with some of Toho’s finest pictures, and while it might be camp by today’s standards, it’s one of the few color sci-fi films of its time period. It also showcases some wonderful special effects that deserve to be marveled at. Plus, did I mention there’s a giant robot?
Alien Raiders (2008)
Ben Rock’s Alien Raiders is a movie that’s criminally overlooked. Don’t let the corny title put you off; it’s anything but silly. In fact, it’s actually an effectively taut heist thriller with an extraterrestrial twist that keeps you on your toes throughout. Think John Carpenter if he decided to blend Assault on Precinct 13 with The Thing. That being said, it’s very much its own self-contained menacing beast.
The story takes place on Christmas Eve in a small town supermarket known as Hastings. Just as the store is about to close, a group of armed militants invade and kill several of the employees and shoppers, while holding the rest hostage. Though the assailants at first appear to be criminals, they reveal themselves to be a team of scientists on the hunt for an alien infestation they’ve tracked to the store. Are they crazy delusional conspiracy theorists? Or is an alien invasion afoot, trying to take over the human race at a grassroots level?
Alien Raiders is perfectly paced, brilliantly acted, and constantly intense. Those who have seen it tend to sing its praises – and deservedly so. This is the embodiment of the term “underrated gem,’’ and I urge every horror fan to check it out.
The Hidden (1987)
The Hidden, directed by Jack Sholder, is a cocktail of some of the best genres cinema has to offer: horror, sci-fi, action, and buddy crime comedy. If Shane Black and Fred Dekker penned The Terminator and let the latter direct, it’d probably turn out something like this. And yes, it’s as awesome as it sounds.
The story centers on an FBI agent (Kyle MacLachlan) and a homicide detective (Michael Nouri), who are pursuing a shapeshifting alien life form on a crime spree throughout ‘80’s Los Angeles. The alien has a penchant for violence, car theft, and stripping, depending on which unfortunate host it’s overtaken at the time.
If it’s fun aliens you’re after, then The Hidden contains arguably the most rebellious in history. This creature doesn’t need a fleet of flying saucers to fuck shit up. In a decade of horror excellence, The Hidden stands out as one of the best offerings produced from those glorious halcyon days of cult cinema.
Killer Klowns from Outer Space (1988)
https://www.youtube.com/watch?v=PrFl800iYWI
An homage to the alien invasion flicks from the 1950’s, presented in the form of the camp ludicrousness that encapsulated the majority of 1980’s horror comedy, Killer Klowns from Outer Space is the quintessential B movie. There’s a reason why this is one of the most celebrated films out there among genre fans. It’s everything you could ever ask for and more – that is, unless you suffer from Coulrophobia or are devoid of a childish sense of humor anyway.
The story follows the events in a small town terrorized by extraterrestrial clowns, who have traveled to Earth in a big top spaceship to unleash hilarious havoc. Better yet, there isn’t a circus gag that isn’t incorporated into the madness: These range from man-eating shadow puppets, popcorn guns, and flowers you don’t want to be sprinkled with if you value your life.
To summarize: This is one of the very best things to ever happen to humanity, even if it did seek to wipe us all out.
They Live (1988)
Throughout the ‘80’s, John Carpenter was a cinematic steam train, a true powerhouse of genre filmmaking who was churning out classics like Madonna was hit singles. However, unlike Madge, most of his films didn’t enjoy instant success; but they would find their audience over time, with the majority now enjoying immortal legacies. And they did it without constantly flaunting their crotches for 30 years as well.
The story centers on Nada (Roddy Piper), a drifter without much purpose in life. That is, until he discovers a pair of sunglasses which show the world the way it truly is – a hub for elite aliens who use subliminal messaging to control humanity. That doesn’t sit too well with Hot Rod so he sets out to free the human race, and much ass-kicking ensues.
They Live was Carpenter at his most satirical, making statements about class divisions, the wealthy ruling class, and the power of the mass media. Its message wasn’t exactly subtle, but one of the reasons why it still holds up is because the same themes are still relevant today as they were back in ’88. It’s a cinematic Marxist proletariat uprising for those who want to kick ass and chew bubblegum. Throw this one on during the current political season, and it might light a fire in you.
Fire in the Sky (1993)
https://www.youtube.com/watch?v=VdFDH8RBH9I
Fire in the Sky is based on a supposed true story about a man named Travis Walton from Arizona, who claimed to have been abducted by aliens. He recounted the events in his book The Walton Experience in 1978, though many skeptics have dismissed his story as a hoax. That being said, if you believe in extraterrestrial life forms, it’s well worth checking out.
The film follows a group of five men who discover a mysterious light in a forest after working one night. Intrigued by the site, Walton (D.B. Sweeney) decides to investigate, only to be sucked up by a flying saucer. The other four men escape and report the strange event, but nobody believes them. Local law enforcement suspects that murder is behind Walton’s disappearance – until Walton reappears five days later to recount his story of alien abduction.
Of all the alien invasion and abduction movies in existence, this one scores the most points due to its realism. As far-fetched and unbelievable as the source material might be, Robert Lieberman set out to make a harrowing horror film about aliens and succeeded triumphantly.
Invasion of the Body Snatchers (1978)
Almost every telling of the Body Snatchers story has been told well. The 1956 original is a hallmark of science fiction and horror; the overlooked 1993 Abel Ferrera remake is a masterful horror film by a brilliant filmmaker. Heck, even the Robert Rodriguez reinterpretation for the MTV generation, The Faculty, is an absolute gem. The Loony Toons version? Gimme a “HELL YEAH!’’ The Invasion in 2007 starring Nicole Kidman? Meh. However, for the most part, it’s made for some effective films no matter how many times it’s told or the guise it comes in. But the 1978 version is petrifying perfection, and most tend to agree it’s one movie that validates the existence of remakes.
The story follows a group of people in San Francisco who discover the human race is being replaced one by one with emotionless alien clones. As the invaders increase in number, it’s up to the gang to stop them. But whom do they trust? Nobody, that’s whom they freaking trust.
The original Invasion of the Body Snatchers was rife with paranoia. But here it’s cranked up to 11 to tangible effect. The 1970’s was a popular decade for conspiracy thrillers following the Watergate scandal. Movies like The Parallax View, All the President’s Men, and The Conversation were prime examples of filmmakers reacting to national hysteria and distrust of government agencies. Invasion of the Body Snatchers is a brilliant parable for the violation of human rights that’s on par with any film in history for creating sheer tension and pummeling paranoia.
The World’s End (2013)
Camaraderie. Friendship. Overcoming the odds. All the while trying to accomplish personal goals as the years advance on you. Being in a state of pure inebriation as you try to cope with the loss of youth. Yearning for a time of living carefree with the world at your feet. This is what it means to be human, ladies and gentlemen, and Edgar Wright showed us that with The World’s End, to cap off his outstanding “Cornetto’’ trilogy.
The film sees Nick Frost and Simon Pegg team up once again to save the day, only this time they’re joined by Paddy Considine, Martin Freeman, and Eddie Marsan to make up the posse of elite British character actors at their comedic best. The story follows a group of high school friends who reconvene 20 years later to embark on a pub crawl they could never complete back in their heyday, only to find that their town has been overtaken by alien invaders.
Like previous films Shaun of the Dead and Hot Fuzz, The World’s End expertly blends hilarious comedy with genre tropes to create a film that authentically homages the type of movie it’s parodying, while subverting expectations just enough to keep it fresh and unpredictable. It works as both a comedy and as a sci-fi/horror film, with a few scenes that are quite emotionally hard-hitting and touching as well. It’s not the best film in the trilogy, but it’s still a perfect addition nonetheless.
Dark City (1998)
Dark City isn’t your typical alien invasion flick; but as it involves a city overrun by a mysterious alien race, it totally counts. It was directed by Alex Proyas, four years after he scored a huge hit with The Crow. It also boasts an all-star cast of cult icons featuring the talents of Rufus Sewell, William Hurt, Kiefer Sutherland, Jennifer Connelly, and Ian Richardson. The talent involved speaks volumes – and bear in mind this was when Proyas was still an acclaimed director.
Rufus Sewell plays John Murdoch, an amnesiac who finds himself at the center of a murder mystery in a nightmarish world where the sun never rises. As he sets out to clear his name, he must evade the police and a mysterious group known only as “The Strangers,’’ who are dissecting people’s memories and replacing them to suit their own agenda. With time running out, Murdoch must find a way to stop the threat before it’s too late.
Dark City is a smorgasbord of influences that intrinsically weaves steampunk, film noir, science fiction, horror, and mystery. The film is a one-of-a-kind experience that’s as engaging and captivating as it is unique and otherworldly. It also explores some fascinating philosophical themes, such as “Last Thursdayism” – which presents the theory that the world could have been created at any time and we wouldn’t know about it, as it was designed to seem historic – and Plato’s “Allegory of the Cave” theory – which explores the quest for educational enlightenment. Yet, it’s not a pretentious film that pushes ideas at the expense of entertainment either. Whether you just want to kick back and enjoy a fun mystery or you want to delve deeper beneath the surface, it provides both options in abundance. A true masterpiece.
