For the briefest of moments, you could mistake the opening titles of Outland for Alien. There's the sinister reverb in Jerry Goldsmith's score and a black background with our only point of reference being a mining colony in outer space. We soon discover the reason for such atonality when a worker freaks out and accidentally rips a hole in his suit. There's zero pressure in this environment. Therefore, what happens to this man is sudden and irreversible.

It's a taut beginning to a very special, albeit overlooked science fiction drama. Sean Connery plays Marshal William T. O'Neil, a good man in a place where productivity, no matter the consequence, overrides all other human considerations. After sticking his nose in places where it doesn't belong, O'Neil finds himself in a fight for survival.

Peter Hyams directs in a low-key style. In terms of mood, this director consistently holds our attention. Admittedly, there's very little warmth here, except for the interactions between O'Neil and his family.

Each set within the colony has an uninviting, claustrophobic resonance. You can literally feel the workers having to squeeze past others on walkways and corridors. All this aids the film by making it an unforgiving locale.

Issues of corruption and materialism abound here as the unseen company works vigorously to protect its own interests. Who better than James Bond to save the day? Now remember, Connery plays down the heroism. He doesn't rely on one-liners and slick observations. He's basically doing the right thing.

Overall, Outland owes a debt of gratitude to both Ridley Scott and Fred Zinnemann's High Noon. Although we've seen this kind of thing before, the application of technique remains top-notch.

(Released by Warner Home Video and rated "R" by MPAA.)