Predator has always been one of those films that is a timeless classic — not in the traditional sense of Casablanca or Gone with the Wind — but in a sense that it’s still watched and appreciated three decades after its release.
Since 1987, Predator has grown on to become a franchise of inconsistent proportions, even stemming a sub-franchise (Alien vs. Predator) that can be classified as divisive. Even now after all of these years, fans of the property eagerly hold out hope. Hope that this franchise returns to the form that blew them away, you know, “getting to the choppa” status, and all of that.
Now, in a turn of fate, Shane Black returns to the world he helped pioneer some 31 years ago, but this time with a directorial stamp.
Fans who have a love of both action cinema and the Predator films will recognize the name of Shane Black. The man wrote classics such as Lethal Weapon, Kiss Kiss Bang Bang, and The Nice Guys (directing the latter two), and also held an acting cred on a little film that became Predator. He played Hawkins, aka the first on screen victim of the Intergalactic Bounty Hunter. Not only did he receive a steel-blade death sandwich, he also was responsible for a number of uncredited rewrites on the film. So, when I say he pioneered the franchise, he actually pioneered. News of Shane Black joining the latest film largely comforted Predator fans. He would write and direct the feature and all would be right with the world.
But then, like getting your skull and spine ripped viciously from your body, things got weird. The film was plagued with rewrites, reshoots, studio intervention, and a little dose of controversy just before the release (which we’ll get to). The journey from page to screen was a bumpy ride, and it certainly shows in the final product.
I won’t lie, the film is a mixed bag. There’s plenty to be praised and plenty to be criticized. The film has a very fun vibe to it, which is a slight deviation from previous films which have always gone for a more suspense/horror approach. It’s not to say this film isn’t gritty but, it has a lighter approach to the action and deaths.
The cast works for all intents and purposes because this is where Shane Black’s writing usually shines brightest. Black knows characters, and the trend continues in this film beginning with our hero, Quinn McKenna (Boyd Holbrook of Logan). McKenna is a deadly sniper on assignment in Mexico City who finds himself toe to toe with a Predator in the films opening minutes. The brief skirmish leaves Quinn the lone survivor of his unit, but as a soldier who has seen it all he knows he can’t just walk away from this. So he mails a package of stolen Pred-tech back home to his ex (Yvonne Strahovski, Handmaids Tale) and his son Rory (Jacob Tremblay, Room).
From there were thrown at breakneck pace through a number of scenarios that lands Quinn on a bus of PTSD group therapy members. The team includes: Nebraska (Travonte Rhoades) the noble ringleader of the wild bunch, the wisecracking Coyle (Keegan-Michael Key), Baxley (Thomas Jane), Nettles (August Aguilera), and Lynch (Alfie Allen).
One of the hallmarks of Shane Black’s writing are characters with terrific camaraderie exchanging off-color jokes midway through a shoot-out. This is on full-display almost as soon as McKenna joins with his newfound “team.” Shoutouts to Key and Jane for an unlikely pairing as they two produce a fair amount of laughs in parts that are usually bland. Unfortunately, Game of Throne’s Alfie Allen’s may be the most disposable character in recent memory, but he has an Irish accent so, you know, that’s his thing.
Other characters, sadly, aren’t as interesting or live up to their potential as McKenna and (most of) his crew. Sterling K. Brown’s Traeger is the film’s human antagonist and he manages to be somewhat entertaining delivering a feel evil zingers. Olivia Munn’s character had a promising start but ultimately just becomes another character with a gun.
The dialogue of The Predator is mostly well-written, and the pace of the story keeps the action and jokes rolling at a fun clip. In short, you’re entertained enough to not worry about some gaping plot holes that exist.
The big negatives of the film are the editing by far. The films original ending, including an entire sub plot with Edward James Olmos, was cut entirely. A new third act was filmed that included reshoots of key character deaths and rewrites. In fact, the rewrites are so apparent you can practically read the studio’s notes on the damn screen. Seriously, it gets a little bad at times. Alas, since reshoots were just as recent as a MONTH before the release, the editing had to be rushed, and boy is it. Olivia Munn’s character has an awkward introduction (due to controversy). Then there was one major character who had such a blink-and-you’ll-miss-it death I couldn’t even believe what I was seeing.
Outside of the editing other little negatives involve a shoddy third act “hunt” which felt really uninspired. This is a shame considering how nicely the first two acts were alluding to a bigger payoff. As for the big bad “super predator”? He’s just the same as a regular Predator, just … bigger. The action has its moments of pure unadulterated delights including some pretty violent kills, and some genuinely funny moments.
Overall there’s still enough joy to be had with this latest offering of the Predator franchise. It’s a Shane Black film, yet then it also feels like it’s not a Shane Black film. It’s a bit of a disappointment that we’ll never truly see what Black had in store — barring he doesn’t do a follow up to this. If he doesn’t return he at least left the door open for the series to take advantage of that interesting final scene. And despite the crucial flaws there’s still enough momentum in the franchise to keep it fresh.
Rating: 6/10
