Wash away memories of dismal pre-2022 Predator films with Predator: Killer of Killers

by

After the release of “The Predator” in 2018, I thought the Predator series was as good as gone. But seven years can bring about unexpected changes – while some of us found new passions or delved deeper into societal issues, it seems the Predator films used this time to reinvigorate their creative spirit. For years, it seemed like a pipe dream that any film could match the greatness of 1997’s Predator. Then, out of nowhere, “Prey” appeared and blew all expectations away.

Currently, director Dan Trachtenberg, known for his work on “Prey”, has surprised many by taking a different route than anticipated. For the upcoming chapter in the Predator series, he and co-director Josh Wassung are working on an animated anthology film titled “Predator: Slayer of Slayers“.

The central idea in this narrative is that it leverages the thrilling historical backdrop of “Prey” to narrate three distinct stories across different epochs of human civilization. The initial story within this series of brutal narratives introduces Ursa (Lindsay LaVanchy), a Viking legend, who embarks on a quest for vengeance alongside her son Anders (Damien Haas) and a group of faithful warriors. They seek retribution against the man believed to have caused Ursa’s father’s demise.

Following this, we encounter a largely wordless tale from Japan’s Edo period in 1629. This narrative revolves around two brothers who used to be very close but grew apart during their training years. The estranged brother, now grown and transformed into a ninja, returns for vengeance on the same night an extraterrestrial Predator invades the location.

In the end, there’s the 1941 tale about Torres, a U.S. mechanic drafted for World War II. Stationed on an aircraft carrier, he yearns to fix his plane and demonstrate his soldier skills to his commanding officer (portrayed by Michael Biehn). However, a routine day takes a turn when Torres discovers that his squad mates are mysteriously being killed in the sky by an alien predator.

Screenwriter Micho Rutare creatively integrates the Predator aliens as secondary elements in the separate narratives of “Killer of Killers“. For viewers eager to witness the Predators slicing humans in half or deploying destructive nets, they will not be disappointed. Fortunately, there are substantial and engaging storylines for characters like Freya and Torres, with the Predators serving as obstacles to their personal objectives or emotional growth. Rutare and Trachtenberg do not discard themes about sibling rivalry or the price of revenge when the massive aliens appear on screen.

Regarding action, “Killer of Killers” certainly delivers. It’s pleasing to note that the fight scenes change dynamically across each story’s time period. For example, the concluding chapter about Torres is full of thrilling and grotesquely intense dogfights. This reminds one of classic adventure movies from this era (or even modern ones like “The Rocketeer”) with their sense of triumph in every small victory. However, this is a stark contrast to the opening segment’s dark tone, which is rooted in the hollow nature of revenge missions. The moody atmosphere also comes from the graphic depiction of brutal hand-to-hand combat, vividly portraying the relentless brutality of Viking life.

Regarding the fight sequences, “Killer of Killers” offers numerous captivating action scenes that avoid becoming repetitive through clever execution. Directing his first animated film, Trachtenberg revels in the freedom to creatively design fights without physical camera constraints. This allows for intricately detailed and gory action scenes, with every beheading and limb removal crisply depicted without any shaky-camera interference, ensuring viewers can fully appreciate the spectacle.

The animation style could use some improvement in terms of visual appeal. The animation team at The Third Floor excels in character movement and creating worn-out surfaces, but the human characters occasionally seem out of place, particularly when they’re exposed to bright sunlight. The characters in Killer of Killers resemble a blend between Nimona’s populace and the mannequin-like humans from Clone Wars, with some aspects like bushy beards or water appearing unnatural.

In the film “Killer of Killers“, there’s a significant emphasis on scene composition and lighting that creates vivid, striking images. Each Predator (who is unique for each segment with a different cosmic enemy) has been well-designed. However, the movie frequently uses close-up shots during intense dramatic scenes, which unfortunately made me notice some less desirable aspects of the human characters’ rubbery faces. The ambitious and dramatic elements in “Predator’s” animation surpass what the film can effectively portray. Interestingly, “Killer of Killers” isn’t shy about incorporating stylized and occasionally impressionistic elements into its sets and props. However, the Earthling characters, who are human flesh-and-blood, appear artificial in all the wrong ways.

Benjamin Wallfisch’s “Killer of Killers” soundtrack could use some improvement. Instead of making full use of the diverse sound potential in every time period, his tracks often seem repetitive and interchangeable. This is particularly noticeable in the first two stories. However, it’s only in the third segment that Wallfisch introduces something fresh by incorporating sounds akin to classic adventure film scores. While the script and cinematography strive to give each scene a unique atmosphere, Wallfisch’s score seems to go through the motions without fully capturing the distinctiveness of each vignette.

As a movie critic, I must admit that despite some technical flaws in both visual and audio aspects, “Predator: Killer of Killers” manages to keep me glued to my seat with its engaging entertainment value. Even the lengthy scenes devoid of action, such as one depicting a ninja attempting to subdue guards before they sound an alarm, were captivating and delightful spectacles to watch. However, the real excitement begins when the camera zooms in on skilled human warriors battling ruthless cosmic adversaries. What’s even more intriguing is that Shane Black’s knack for showcasing intense gore seamlessly blends with a recurring narrative focus on humanity, emphasizing unity and cooperation rather than endless vengeance. Frankly, I never thought such thematically bold and consistently enjoyable content would emerge from the “Predator” franchise after 2018’s “The Predator.

Read More

2025-06-06 19:14