When the Marines find Mary cocooned alive in the Hive, she begs the Marines to kill her. This may be a reference to the similar scene filmed for Alien wherein Ripley finds Dallas cocooned alive in the Nostromo's hold and he begs her to kill him; while this sequence was originally deleted from Alien, it is was later restored in the film's Director's Cut, and it is conceivable James Cameron was aware of it at the time he made Aliens. In both scenes, a flamethrower is used to grant the victim's request.
Part of Jerry Goldsmith's soundtrack from Alien is reused when Ripley is trying to escape the Hive with Newt towards the end of the film. In fact, the piece is used under identical circumstances in both instances — each time, it plays when Ripley finds herself cornered by a Xenomorph (the Alien in Alien, the Queen in Aliens) when she is trying to escape an impending explosion (the self destruct of the Nostromo in Alien, the detonation of the Atmosphere Processor in Aliens).
The panning shot that follows a blood trail up a wall and reveals the dead Colombian Scorpion hanging from the ceiling of their hideout is an homage to the similar shot that follows Hawkins' blood to his body hanging in a tree in Predator.
The scene where Keyes' team is decimated by the City Hunter in the slaughterhouse is an almost exact replicate of the Hive ambush scene from Aliens. In both cases, the person overseeing the operation (Garber in Predator 2, Gorman in Aliens) watches events on video screens in their command center away from the action and rapidly loses the ability to control the situation once things go wrong. Both sequences also end with somebody outside of the present command structure (Harrigan in Predator 2, Ripley in Aliens) taking it upon themselves to try and help the personnel under attack. Stylistically, the way the sequences are shot is also very similar, with the actual combat edited so as to be intentionally confusing and unclear. Furthermore, one of the OWLF troopers is armed with a pair of Muzzelite MZ14 Bullpup assault rifles mounted on stabilizing arms affixed to his waist, recalling the M56 Smartguns used in Aliens.
When Harrigan unmasks the City Hunter, he begins to say, "You're one ugly-" at which point the Predator grabs him by the throat and finishes the line, "Motherfucker!" This is an homage to the scene where Dutch first sees the Jungle Hunter's face in Predator and says the complete line himself.
At the end of the film, the skull of a Xenomorph Warrior is seen in the trophy cabinet aboard the Yautja ship, a reference to the then recently-published Aliens vs. Predator comic series.
When Call tells Christie that they cannot trust Ripley 8, he replies, "I don't trust anyone." Ripley shared a similar exchange with Dallas in Alien. Ironically, in that film, Ripley was voicing her concerns about a character who was ultimately revealed to be an android; in Alien Resurrection, a character who is ultimately revealed to be an android is voicing her concerns about Ripley.
The scene in which Ripley 8 encounters Ripleys 1-7 and Ripley 7 pleads for death echoes similar scenes in both the Director's Cut of Alien and Aliens, wherein cocooned victims of the Xenomorphs beg to be killed to spare them their fate. In each of these scenes, a flamethrower is used to grant the victim's request.
The AVP logo in the film's title fades in piece-by-piece, mimicking the main titles in Alien.
The opening shot of the film, showing the Weyland Industriessatellite orbiting Earth, is framed such that it initially appears to be the back-lit head crest of a Xenomorph Queen, a reference to the reveal of the Queen in Aliens.
A drinking bird can be seen on a desk at the satellite receiving station, similar to the drinking birds in the mess hall of the Nostromo.
When the Predator Mother Ship arrives in orbit, a computer display is seen reflected in a Predator Bio-Mask. This is a homage to the opening scenes of Alien, during which a computer display is reflected in an emergency helmet on the bridge of the Nostromo.
When Miller is exploring the whaling station, we see a shot of the interior of one of the cabins as the light from Miller's flare sweeps from right to left across the room. This is an homage to the scene in Aliens where Jernigan and his crew recover the Narcissus, during which a scanning device emits a beam of light that sweeps the shuttle in a similar fashion.
The grate in the floor of the sacrificial chamber is decorated with an image of an embryonic Xenomorph Queen that was first used to promote Alien3; the image is virtually identical, except that it has been flipped horizontally in the film. The image is also repeated on statues and walls throughout the pyramid. This homage is pointed out in one of the film's commentaries.
When the Eggs first appear in the sacrificial chamber, Thomas shines his flashlight on one of them, revealing a fluttering Facehugger inside. This is similar to Kane's first encounter with the Eggs in Alien.
When Verheiden first comes face-to-face with a Xenomorph, he yells, "You want a piece of me, you ugly son of a bitch?!" This is likely a reference to Dutch calling the Jungle Hunter "one ugly motherfucker" when the creature first reveals its face in Predator.
When Lex pulls herself up from the precipice after Sebastian is captured, the sequence is shot similarly to the scene where Ripley nervously climbs up a ladder between decks during the final act of Alien.
When Lex kills the Xenomorph with the Combistick, its jaws approach to within a few inches of her face. This is an homage to Alien3, in which the Dragon famously leers at a helpless Ripley in the infirmary. This homage is also pointed out in one of the film's commentaries.
When Lex uses a piton gun to kill a Xenomorph at the base of the ice tunnel, she remarks, "You are one ugly mother-" (the final syllable cut off by her firing the gun). This is an homage to the line's use in both Predator and Predator 2.
The Predators' use of Xenomorph blood to mark themselves references the original Aliens vs. Predator comic. In both the comic and the film, the human female protagonist is eventually marked with blood by the lead Predator after proving her worth.
Before leaving, the Ancient Predator notices the mark on Lex's face and offers her his weapon. This is a possible reference to both Predator 2 and the Aliens vs. Predator comic — in the former, Greyback gives Harrigan an ancient flintlock after he defeats the City Hunter, while in the latter, Dachande's clan notice the scar on Machiko and allow her to join their number as a result.
The film's title features a distinctive vertical slash of light in the center, mimicking the main titles from Aliens. Not only is this a reference to the 1986 film, it is seemingly also a reference of sorts to the first Alien vs. Predator film, which instead featured titles in the style of Alien, to which Aliens is a sequel.
During the opening titles, the sounds of both a Predator Bio-Mask and the motion tracker from Aliens can be heard.
During the opening scenes aboard the Predator ship, several Facehuggers are seen inside liquid-filled containment tubes; one of them lunges at the glass much in the same manner as the Facehugger that attempts to attack Burke in Aliens.
One of the lead male characters in the film is named Dallas, a tribute to Captain Dallas in Alien.
The characters of Kelly and Molly O'Brien are often considered a direct analogy to the relationship between Ripley and Newt in Aliens. Both pairs share a mother-daughter relationship (be it literal or surrogate) and the characters also share many lines of dialogue. For example, Kelly assures Molly, "There are no more monsters," a reference to Newt's line, "My mommy always said there were no monsters — no real ones — but there are."
A pyramid similar to the one from Alien vs. Predator can be seen in the background on the Predator homeworld.
The chair in which Wolf sits on the Predator homeworld visually recalls the Pilot's chair in Alien.
When Wolf arrives on Earth, the shot of his ship entering the planet's atmosphere is very similar to that of the Jungle Hunter being dropped off in Predator.
After landing in the lake, the sequence where Wolf emerges from the water, his Cloak shorting out, is a near shot-for-shot recreation of the scene where the Jungle Hunter emerges from the water (just before Dutch discovers cold mud renders him invisible to the creature) in Predator.
When the Predalien approaches the homeless lady in the sewers, one shot of her cowering in terror is remarkably similar to a shot of Lambert as the Alien approaches her in Alien.
The panning shot that follows a blood trail to reveal Deputy Ray's skinned body hanging in the tree mirrors similar scenes in both Predator and Predator 2.
While not quite a direct homage, the power plant in the film seems to be a reference to the Atmosphere Processing Plant in Aliens.
In one of the added scenes in the Unrated Edition, Kelly wears a dressing gown very similar to the one worn by Ripley when Burke and Gorman come to recruit her in Aliens.
When Dallas hears of the explosion at the power plant in the Unrated Edition, he comments, "Well this day just keeps getting better," paraphrasing Dutch's line, "This is getting better by the minute," from Predator.
When Wolf is healing himself in the tree, a long panning shot follows a stream of his florescent blood up the tree, finally revealing Wolf perched on a branch. The same style of shot was also used in Predator and Predator, albeit with human blood.
One of the tombstones in the graveyard seen in the Unrated Edition is marked "HAWKINS", a reference to the character Hawkins in Predator.
When the radio to the National Guard patrol goes dead, the whining static sound heard is the same as that heard after Dallas is taken in Alien.
The acronym "OWLF" is seen on a monitor that Colonel Stevens is watching; the OWLF was Keyes' unit in Predator 2.
In the same scene as above, the noise made by the Mother interface in Alien can be hard in the background.
Also during the above scene, Stevens looks at footage of a Xenomorph on a monitor and asks, "What the fuck are you?" This is an homage to Predator, in which Dutch asks the Jungle Hunter almost the exact same question.
The use of an IAV Stryker by the survivors is an homage to the APC used by the Colonial Marines in Aliens.
During a later scene with Stevens in the military control center, the bleeping of the motion trackers from Aliens can be heard.
Dallas yells at his brother Ricky, "Get to the chopper!" This is an obvious reference to Dutch's famous line in Predator.
When Wolf takes off his Bio-Mask and abandons most of his weaponry before facing the Predalien on the hospital roof, his actions and the various camera angles and edits used match the scene where the Jungle Hunter discards its equipment in the original Predator.
The helicopter escaping from the nuclear explosion is similar to the dropship fleeing the explosion at the end of Aliens.
The film's soundtrack takes movements, themes and many musical elements from all previous Alien and Predator movies, fusing them with its own style to create what is essentially a remix of the preceding movies' soundtracks.
Likewise, many of the Xenomorph sound effects, such as their various hisses and death cries, are recycled from earlier movies, particularly Aliens.
When the group flees the Super Predators after encountering them at the hunting camp, they fall over a cliff near a waterfall and plunge into the river below. This a clear homage to the scene in Predator where Dutch also tumbles over a cliff near a waterfall and falls into a river while trying to evade the Jungle Hunter.
When the group first encounter Noland, he taunts the group, whispering, "Over here." As he decloaks and reveals himself, he whispers to Royce, "Turn around." These are clear references to the same dialogue in Predator, first used by Mac when he kills the scorpion on Dillon's back, and later imitated by the Jungle Hunter.
Just after Noland decloaks, Royce asks him, "What the fuck are you?" This is another homage to Predator, specifically when Dutch asks the Jungle Hunter, "What the hell are you?" after he has mortally wounded it.
When Tracker impales Nikolai on his Wristblade, Nikolai utters something to the Predator in Russian before detonating the Claymore on his chest. While it isn't a direct translation, his dialogue loosely means, "You are one ugly motherfucker." This is a tribute to both Predator and Predator 2, which both feature the phrase. The direct translation is along the lines of, "You have a really ugly face".
The moment where Hanzo decides to stay behind and face the Predators with his katana is stylistically very similar to the scene in Predator where Billy decides to face the Jungle Hunter with his knife; the musical score is identical in both scenes, both characters discard most of their equipment and clothing, and both elect make their last stand using only a bladed weapon.
At the end of the film, Royce confronts Berserker with only primitive weapons, stripped to the waist and covered in wet mud, mimicking Dutch's confrontation with the Jungle Hunter in Predator. Royce even yells some of the same dialogue during the sequence.
An updated version of "Long Tall Sally", which was heard during the ride in the insertion helicopter in Predator, plays over the credits.
Much like Alien and Prometheus, the film's title appears with each of the letters fading in piece-by-piece.
Members of the Covenant's security team wear shoulder-mounted GoPro cameras very similar to the shoulder lamps worn by the Colonial Marines in Aliens.
When Tennessee manages to regain control of the cargo loader after rescuing Daniels and the others from Planet 4, he quips, "A walk in the park!" This is the same line used by Parker after the Nostromo successfully lifts off from LV-426 in Alien.
The film's score heavily samples Jerry Goldsmith's soundtrack to Alien.
There is a drinking bird visible on the table aboard the Covenant, just as there was on the Nostromo.
The entire sequence where Upworth chokes is an obvious homage to Kane and the infamous Chestburster scene in Alien; Tennessee's response when he sees Upworth is in trouble — "The food's not that bad!" — is almost verbatim what Parker says when Kane begins choking.
Several of the sound effects heard during the distressing footage segment are lifted directly from Alien, most obviously the screech of the Facehugger bursting from its Egg when it attacks Kane and Brett's death cries.
The forward window of the escape shuttle resembles the Weyland Corp logo.
When the Chestburster emerges from Nass, Ward grabs a knife to defend herself — the shot of her holding the blade out in front of her as she cowers on the floor is an obvious reference to the almost identical shot of Karine trying to defend herself from a Bloodburster in Alien: Covenant.
Following his death by Chestburster, there is a shot of Nass' hand twitching in the same fashion as Kane's after he is killed by the Chestburster in Alien.
An Easter Egg can be activated in the Pilot's chamber aboard the derelict that shows a hologram of the ship being engaged in a dogfight by a craft visually matching the saucer seen at the beginning of Prometheus.
Before encountering Axel in the Spaceflight Terminal, the player must activate a generator in a room to the right, inside which the sound of a meowing cat is just barely audible. This is a possible reference to Jones.
In Seegson Synthetics, the player discovers Smythe dead in a chair, a rolled-up magazine forced down his throat, the culprit implied to be a Working Joe. This is a reference to how Ash (also an android) attempts to kill Ripley in Alien.
Outside the Seegson Synthetics showroom is a poster informing people to "eliminate lice before it spreads", a reference to Alien3.
The electronic blueprint table that Ripley has to check to find access to APOLLO is very similar in design and function to the colony blueprints studied by the Marines in Aliens.
The APOLLO interface room is almost identical in design to the MU/TH/UR interface room aboard the Nostromo in Alien, right down the the distinctive formatting of the text that appears on the interface console.
Although never seen from the outside, the ambulance shuttle that Amanda Ripley uses to reach the Anesidora is seemingly based on early concept artwork for the Nostromo's emergency shuttle by Ron Cobb — both craft feature a similar launch mechanism, being stored flush with the wall of their parent vessel/station before swinging out on an arm and launching into space.
The docking clamp release mechanism that Ripley uses to free the Torrens at the end of the game has the same design as the self destruct system aboard the Nostromo.
Several of the weapons in the game are modelled after devices used by the crew of the Nostromo in Alien. For instance, the flamethrower that Waits gives to the player is almost identical to the Flame Throwers built by Parker, while the stun baton is similar in appearance to the cattle prods Parker and Brett construct. The bolt gun also incorporates elements of the cattle prods in its design.
Numerous drinking birds can be found throughout the game, both on Sevastopol Station and the Torrens.
The design of keycards in the game, including the one used at save stations, is almost identical to the cards used by Dallas and Ripley to access Mother in Alien.
The larger, two-handed levers that Ripley uses throughout the game are the same as those used by Ripley when she arms the Nostromo's self destruct system.
The circular vent apertures in the game are identical to those in the vents aboard the Nostromo.
Children's drawings can be found around the station, one of which has the number "1979" scrawled on it, an obvious reference to Alien, which was released in 1979.
Working Joes can sometimes be seen spontaneously jogging on the spot, mimicking the action Ash memorably performs to "warm up" in Alien.
Several of the hacking minigames are based on computer graphics created for Alien.
In the aftermath of the crash between the Marion and the Delilah, Powell exclaims, "That's it. We're screwed. Game over," an obvious homage to dialogue by Hudson following the dropship crash in Aliens.
At one point, Ripley says, "Then all we need is a deck of cards," a reference to dialogue by Corporal Hicks in Aliens.