In 1986, James Cameron made the quintessential sequel:
https://customwritings.us.com Aliens, a model for many sequels as to what they might and really should wish to be. Serving as writer and director for only the third time, Cameron reinforces themes and develops the mythology from Ridley Scott’s 1979 original, Alien, and expands upon those ideas by also distinguishing his film from the predecessor. The short of it really is, Cameron goes bigger—much bigger—yet does this by remaining faithful to his source. Instead of simply replicating the single-alien-loose-on-a-haunted-house-spaceship scenario, he ups the ante by incorporating multitudes of aliens and also Marines to fight them alongside our hero, Sigourney Weaver’s Ellen Ripley. Still working inside the guise of science-fiction’s hybridization with another genre, Cameron delivers an epic actionized war thriller rather than a horror film, and effectively changes the genre from the first film to second to suit the demands of his narrative and style that is personal. Through this setup, Cameron completely differentiates his film from Alien. As well as in his stroke of genius innovation, he made movie history by achieving something rare: the perfect sequel.
Opening precisely where in actuality the original left off, though 57 years later, the film finds Ripley, the last survivor of this Nostromo, drifting through space when she is discovered in prolonged cryogenic sleep by a deep space salvage crew. She wakes through to a station orbiting Earth traumatized by chestbursting nightmares, along with her story of a hostile alien is met with disbelief. The moon planetoid LV-426, where her late crew discovered the alien, has since been terra-formed into a colony that is human Weyland-Yutani Corporation (whose motto, “Building Better Worlds” is ironically stenciled in regards to the settlement), except now communications have now been lost. […]