Ian Holm, right, with Sigourney Weaver and Yaphet Kotto in the original 1979 “Alien.” Holm’s likeness has been re-created via AI and animatronics for the new “Alien: Romulus.”

Now that you’ve had a chance to see the latest in the “Alien” franchise, how does it compare to its peers? The films are here ranked according to my taste, and in such a way that likely everyone would take vehement issue with at least one placement.

9. ‘AVP: Alien vs. Predator’ (2004)The first of two non-canonical crossovers with the “Predator” franchise takes place in 2004, when an Antarctic quest uncovers an ancient pyramid built for ritual combat between the titular movie monsters. The film has all the depth of an amusement park ride. If that’s what you’re looking for, and you can ignore the casual exoticization of non-European cultures, fine. Otherwise, avoid “AVP,” a picture without a purpose.

8. ‘Alien: Romulus’ (2024)Twenty years after the Nostromo’s last voyage, a group of young folks fleeing corporate enslavement happen upon an abandoned space station carrying, you guessed it, aliens. Álvarez’s reboot takes the form of a shiny, slick piece stuffed with references to the other, invariably better films (it even resurrects a dead actor — hypocrisy oozes from this Disney film supposedly condemning evil companies). Aside from Johnson’s Andy, there is nothing “Romulus” offers that you can’t find done more successfully elsewhere.

7. ‘AVPR: Aliens vs. Predator – Requiem’ (2007)Picking up right where “AVP” left off, a Xenomorph-Yautja (what silly names) hybrid lands in small-town America to kick off a local apocalypse. Of all the entries in the series, “AVPR” sits the most firmly and comfortably in “rote slasher” territory. As a result, it’s kinda forgivable that you don’t care about anybody whatsoever. Sit back, turn the brightness on your screen all the way up, and enjoy 90 minutes of brutality.

6. ‘Alien: Resurrection’ (1997)Centuries have passed since “Alien 3,” but the company has resurrected Ripley so they can finally attain their ultimate, and unfortunately disobedient, weapon. Filled with largely grating characters and bland setpieces, most of “Resurrections” is a tough sit. However, a handful of gloriously gloppy, transgressive images and moments rescue the film from irrelevancy. There’s also a heavy dose of queer subtext, which is fun.

5. ‘Prometheus’ (2012)The series begins canonically in 2093 as an interstellar expedition takes to the stars to find the origins of life on Earth. There are a lot of big ideas about faith and playing God at play in “Prometheus,” but one might be forgiven for forgetting those parts as Scott consistently chooses to highlight visual spectacle over thoughtful conversation. Thankfully, some of that spectacle is beautifully unnerving, and the unsatisfying ending is, funnily enough, satisfying. We’re ultimately left with a muddled, though fascinating, blockbuster.

4. ‘Aliens’ (1986)It’s been nearly 60 years since Weaver’s Ripley went into her cryogenic slumber, and she awakes only to learn that it’s up to her to save what’s left of a colony from more aliens. Cameron’s shift to the action genre is not without [blunt, vague] ideas: a hatred of the company man, the mocking of the underprepared military, and explorations of motherhood. But really, we’re here for a nail-biting thrill ride, and as such we’re quite satisfied. Except for when it comes to the brownface, which is abhorrent.

3. ‘Alien: Covenant’ (2017)A decade after the events of “Prometheus,” a group of hopeful colonists are interrupted by the plot of an “Alien” movie: gory mayhem ensues. There’s clearly a lot on “Covenant’s” mind, and yet it’s also very straightforward in its approach, designed to engineer as much suffering for its characters (and maybe the audience?) as possible. Fassbender gets to play double duty as dual synthetic persons arguing over poetry and god complexes — it’s delightful. Also, an absolute stunner in the cinematography and orchestral score departments. Not for everyone, candy for some.

2. ‘Alien’ (1979)In 2122, the blue-collar crew of a space-tugboat are called to investigate what turns out to be an alien ship. It doesn’t get simpler than the original “Alien,” and many argue it doesn’t get better. Scott’s direction and the production design are stellar. The body horror is fresh, central and gross in all its deliberately paced detail. Forty-five years on, H. R. Giger’s titular creature is still terrifying.

1. ‘Alien 3’ (1992)Immediately following the events of “Aliens,” all the survivors die and Ripley is marooned on a prison planet with yet another death monster. Fincher’s debut feature is so, so bleak and I love it for that. Though often a mess structurally and visually due to myriad production issues, its ideas are at the forefront. Monk-like convicts argue about God’s will for those left to die without hope. Ripley herself is confronted with so much grief and trauma, that she becomes all the more powerful for enduring as she does. The film ends on a triumphant, pro-choice note, and the franchise has never topped it.