Royce, a mercenary, reluctantly leads a group of elite warriors who come to realize they've been brought together on an alien planet... as prey. With the exception of a disgraced physician, they are all cold-blooded killers -- mercenaries, Yakuza, convicts, death squad members -- human "predators" that are now being systemically hunted...
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Royce, a mercenary, reluctantly leads a group of elite warriors who come to realize they've been brought together on an alien planet... as prey. With the exception of a disgraced physician, they are all cold-blooded killers -- mercenaries, Yakuza, convicts, death squad members -- human "predators" that are now being systemically hunted and eliminated by a new breed of alien Predators.
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I struggle to think of another '80s film icon that has endured as strongly as the Predator despite only having been in a single good film. That's not so much a dig on how bad Predator 2 and the pair of Alien Vs. Predator films are (though all three are certainly worth the derision), as it is a testament to how good the character is. His origins are an enigma, but his motivations require no grand backstory: He's an alien hunter who likes to keep the skulls of his prey as trophies. It's simple, really. And that's why Predators, the two-decades late sequel that should-have-been instead of the previous trio of disappointments, works as well as it does.
Director Nimrod Antal and screenwriters Alex Litvak and Michael Finch have cut out all distractions, all the fruitless complications most sequels experience as they try to overly explain any unanswered questions from the first film. Their story ignites with a bang and shows no immediate signs of pausing for needless introspection. Predators opens with Adrien Brody's character falling from the sky into an unknown jungle where he meets up with a handful of fellow air-dropped jarheads, each as equally confused as to what's going on as the next. The audience knows exactly what's going on, though. They, a collective sampling of Earth's most lethal badasses, have been parachuted onto an alien game preserve for the hunting pleasures of the Predators.
The first 30 or so minutes of the film are a much-needed refresher course on not only how to do ensemble-based action movies, but how to make a film that cashes in on a previous phenomenon without betraying the people who made it a phenomenon in the first place. We know just enough about the characters to let our own real-world instincts fill in any of the gaps. And since we know the Predators are out in the jungle, patiently stalking Brody and his defacto gang of killers, there is also no need to de-cloak the alien killers prematurely. The result is an exciting, feels-like-the-good-ole-days start to a movie that is constantly on its toes as it pits the group against a host of interesting challenges the Predators' planet has to offer, both old (elaborate, hand-made traps) and new (they aren't the only dangerous things the Preds dropped in by parachute).
However, that is only the first 30 or so minutes of the film. Sadly, around a third of the way through, Antal and company have reached their cruising speed and from there on out Predators enters a predictable trajectory that doesn't really aspire to introduce and explore more of the Predator world. For sake of keeping this review spoiler-free I'll leave out the specifics, but a plot device is introduced that promises to be yet another wild-card for the movie, but it just shows up, pauses to provide unnecessary exposition, and then disappears. Unfortunately, the momentum of the movie never fully recovers from this small but crucial misstep.
When it's on fire, though, Predators is a total blast of all the extreme machismo and action-movie staples that made John McTiernan's original such a seminal entry in both the sci-fi and action canons of cinema. Antal really knows how to balance an ensemble cast, giving each character enough screen time to be memorable for one reason or another, be it the weapon they carry or the lines they deliver, lines seemingly engineered to be as quotable as possible (Walton Goggins' dialog alone is reason enough to like the movie). And he also has great instincts for how to maximize the scale and scope of set pieces, transforming jungle that is claustrophobic in one scene into a landscape so sprawling it seems like it could never be escaped in another.
That said, even with a film that is significantly more exciting in the beginning than it is in the end, a movie that is one-third great and roughly two-thirds above average isn't exactly something to be angry about. Especially not in this summer's current film climate, where most relea
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