Director : Shane Black
Cast : Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Olivia Munn, Sterling K. Brown, Keagan-Michael Key, Thomas Jane, Alfie Allen, Augusto Aguilera, Yvonne Strahovski, Jake Busey
Genre : Action/Sci-fi
Run Time : 107 mins
Opens : 13 September 2018
Rating : M18
Hunting season has come around again: in the fourth instalment in the mainline series of Predator films, the galaxy’s deadliest killers have returned to earth to stalk their prey.
Quinn McKenna (Boyd Holbrook) is a former Army Ranger-turned mercenary who had a run-in with the alien species nicknamed ‘the Predator’ while on assignment in Mexico. Quinn salvages the Predator’s helmet and wrist gauntlet, which wind up in the hands of his young son Rory (Jacob Tremblay), unbeknownst to his mother Emily (Yvonne Strahovski). Rory has high-functioning autism, and decodes the Predator’s language, unwittingly summoning more Predators to earth.
The authorities refuse to believe Quinn’s account, sending him to jail. Quinn is put on a bus with several other misfit veterans, including former Marine Nebraska Williams (Trevante Rhodes), Coyle (Keagan-Michael Key), Baxley (Thomas Jane), former Marine Lynch (Alfie Allen) and former Blackhawk helicopter pilot Nettles (Augusto Aguilera). The oddball bunch is waylaid when a Predator gets loose. Quinn and his new dysfunctional unit team up with biologist Casey Brackett (Olivia Munn). They must not only evade the Predators and ensure Rory’s safety, but also outrun government agent Will Traeger (Sterling K. Brown), head of the shadowy Stargazer operation.
The Predator franchise has often had difficulty getting up and running. The original 1987 film is regarded well, while Predator 2 and the spin-off Predators have more or less gained cult movie status. With Prometheus and Alien: Covenant, the Alien franchise has gotten somewhat high-falutin’ with its philosophical musings. The Predator films have tended to embrace their B-movie roots, something which director and co-writer Shane Black keeps alive in this one.
Black was there from the beginning, having played Hawkins in the first film. He previously worked with co-writer Fred Dekker on Monster Squad. As is typical of Black’s work, there is an undercurrent of smartass-ness running through The Predator, with everyone quipping back and forth. At the same time, there’s a welcome scrappiness to the movie, which seems the right scale and doesn’t become as bloated or as production-line as it could’ve been.
The Predator possesses a nervous energy about it, apt for a film in which the protagonists are being hunted. It is sometimes difficult to discern what’s going on in the action sequences, but there are several inventive chases and fights. Special effects suit designers Tom Woodruff Jr. and Alec Gillis of Amalgamated Dynamics Inc have worked on previous incarnations of the Predator, and there’s a welcome tactility to the creature that balances out the other parts of the film that rely more heavily on digital visual effects work.
Dutch’s crew in the first film is one of the all-time great movie ensembles. Black puts an off-kilter spin on that by making the heroes of this film a collection of troubled, often-goofy outcasts. It’s as if the whole team has been Hawkins-ified, to varying degrees. They generate excellent chemistry, and the pairings of Holbrook and Rhodes, and Key and Jane yield results onscreen. There is the danger that the overall humorous tone might undercut the stakes, but there is enough grimness and gore to remind us of the mortal danger the characters are in.
Boyd Holbrook has a laconic charm about him. While the Quinn character isn’t as charismatic as some of his cohorts, as the leader types in action movies are wont to be, Holbrook lends the part enough of a haunted quality and a devil-may-care vibe.
The inclusion of a child with high-functioning autism is one of the film’s few concessions to schmaltziness. Jacob Tremblay of Room and Wonder fame does a fine job portraying a sensitive, gifted child, who is key to the fight against the Predators because of his ability to decipher their language. It’s a plot point that is handled with surprising finesse.
Olivia Munn throws herself into the scientist role but can’t help but come off as the weak link. Maybe it’s just this reviewer, but she has a tendency to come off as unlikeable and isn’t quite convincing as either a biologist who has cracked the Predators’ genetic code or as a gun-toting badass.
Sterling K. Brown has a healthy amount of fun with his untrustworthy G-man character, while Keagan-Michael Key works overtime to steal the show, succeeding on many occasions. Jake Busey makes a cameo as Sean Keyes, the son of Peter Keyes, the character played by his father Gary in Predator 2.
The Predator has been described by other critics as “messy”, and while this reviewer will corroborate that, its messiness is not necessarily a bad thing – at least until the third act, which was hastily reshot after poor test screening results. There are moments when it feels like the story’s foundation is a little too flimsy to support some of the ideas at play, and there are also times when the wink-and-nod fanboy appeal gets in the way of the action and violence working on a visceral level. Its ending blatantly, clumsily begs for a sequel, but there’s enough in this instalment for long-time Predator fans and newcomers to the franchise to appreciate, if they can get on Black’s wavelength.
RATING: 3.5 out of 5 Stars