Predator: Killer Of Killers Review – A Bold Step With Flaws In Execution

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As a gamer, I’ve been hooked into the latest buzz on social media – millions debating who would win in a fight, a gorilla or 100 men? That same thrill of friendly competition is present in director Dan Trachtenberg’s intense animated film, “Predator: Killer of Killers.” This time, instead of targeting buff action stars and character actors like the original Predator, it challenges legendary warriors from history in gruesome hypothetical battles. If you found previous live-action ‘Predator’ movies (including Trachtenberg’s own reboot “Prey”) to be too plot-heavy and light on carnage, this spin-off is for you. It streamlines the formula into its most basic elements, offering three concise tales that focus solely on the action.

To put it simply, I wasn’t as captivated by the 2022 streaming release “Prey” as some other reviewers seemed to be. While I appreciated the new environment introduced in the franchise, I felt that the portrayal of its historical context lacked depth compared to others’ views. The promised authenticity felt more like a facade, just like the monster in the movie. Interestingly, the same issue can be raised about “Killer of Killers,” but the episodic structure of this anthology film actually enhances it. Each segment, approximately 25 minutes long, is primarily centered around one major fight scene, concluding with each decisive blow. This rapid-fire pacing doesn’t give you time to think about the questionable period accuracy, and that’s a good thing.

The movie is brief & brutal

In the initial release of “Predator: Killer of Killers,” titled “The Shield,” establishes the scene effectively, transporting us to 841 AD. Here, a Viking family’s mother and son are on the brink of completing a revenge mission, aiming to claim a throne they believe is rightfully theirs. Before the Predator enters, eager for combat, bloodshed is rampant and danger lurks around every corner. Flaming arrows strike their ship in the high seas, and armed guards await their arrival upon landing. The animation is stunning and imaginative, with the somber Nordic color scheme contrasted by vivid splashes of gore, as swords and shields are creatively employed; however, maintaining this pace occasionally results in unclear choreography due to a common issue in live action that occasionally seeps into this animated version. Yet, when the Predator arrives, the striking differences in character design diminish this criticism.

In the movie, the reason why the Predator keeps returning at different times isn’t explained until the end. Instead, it presents a narrative that mirrors ongoing arguments about who would win in a fight between a Predator and various historical figures like Vikings, samurai, or WWII pilots. These confrontations are depicted as intense, short scenes and can be compared to Marvel’s “What If?” series in terms of exploring alternative scenarios. However, it avoids unnecessary fan service references that might distract from the story.

In a positive light, if you took out the most intense scenes, this series could resemble the animated TV spin-offs popular in the 80s and 90s, which were based on more mature franchises. It’s not something that directors Dan Trachtenberg and screenwriter Micho Robert Rutare aimed for intentionally, but they have successfully created a nostalgic feel for that era of tie-ins without compromising the essence of the original content for fans.

It’s best when it’s stripped down

In this new part, we leap ahead to 17th-century Japan and a prolonged rivalry between a samurai and a ninja who both yearn for royalty. Similar to the initial tale, the script fails to delve deeply into the intricacies of their familial bond or individual power ambitions, instead focusing on action sequences. However, when the Predator appears again, character development becomes secondary. While this might not bother die-hard fans, seeking entertainment rather than in-depth narratives or accurate historical depictions, I found this segment felt unsatisfying due to the emphasis on underdeveloped character journeys, even with some of the best action scenes among the three installments. The appeal of these stories lies in their intense battles, so overly complex characters aren’t essential for maximum impact; however, the attempt at crafting a more elaborate character drama made this segment seem hollow.

The third chapter transports us into World War II, introducing a determined aviator who finds himself in a life-threatening situation aboard an alien spaceship, known as the Predator’s, with minimal delay before thrusting him into the skies. From an action perspective, it’s straightforward yet inventive – it leverages physics principles that would feel familiar to a “Mission: Impossible – Fallout” reviewer. Despite its basic mechanics, this narrative delivers the most thrilling of the three tales due to its focus on aerial combat scenes and their inherent limitations. Interestingly, even in an animated format where possibilities are endless, Dan Trachtenberg manages to make this story the most realistic of the trio. A viewer who struggled with disbelief in earlier sections might find themselves appreciating the straightforwardness and clarity of action in this one, without it being overly concerned with realism.

The title “Predator: Killer of Killers” was created alongside Trachtenberg’s own live-action sequel “Predator: Badlands,” set to hit theaters in November. However, an animated series could continue independently from the timeline he’s creating – despite the final scene implying that everything we’ve seen so far in both formats may be interconnected. I prefer the straightforward, intellectual combat scenes over the construction of a grand cinematic universe; it’s possible that, despite its flaws, this could become the best “Predator” movie of 2021.

“Predator: Killer of Killers” lands on Hulu on June 6. 

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2025-06-05 06:00