The Predator

When a young child accidentally triggers extraterrestrial hunters to return to Earth, a ragtag crew of ex-soldiers and scientists join forces to prevent the end of the human race.
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Credits: TheMovieDb.

Film Cast:

  • Quinn McKenna: Boyd Holbrook
  • Nebraska Williams: Trevante Rhodes
  • Traeger: Sterling K. Brown
  • Rory McKenna: Jacob Tremblay
  • Coyle: Keegan-Michael Key
  • Casey Brackett: Olivia Munn
  • Braxley: Thomas Jane
  • Lynch: Alfie Allen
  • Nettles: Augusto Aguilera
  • Keyes: Jake Busey
  • Emily: Yvonne Strahovski
  • Predator: Brian A. Prince
  • Dupree: Mike Dopud
  • Sapir: Niall Matter
  • Cantina Bartender: Javier Lacroix
  • EJ: Gabriel LaBelle
  • Derek: Nikolas Dukic
  • Agent Church: RJ Fetherstonhaugh
  • Helicopter Pilot: James S. Salisbury
  • Postal Worker: Garry Chalk
  • VA Psych: Duncan Fraser
  • Merc Soldier: Emy Aneke
  • Bus MP #1: Darryl Scheelar
  • Bus MP #2: Fraser Aitcheson
  • Security Tech: Eduard Witzke
  • Tech Hamlin: Jan Bos
  • Lt. General: Lochlyn Munro
  • Tracking Supervisor: Françoise Yip
  • F-22 Pilot #1: Rhys Williams
  • F-22 Pilot #2: Malcolm Masters
  • F-22 Pilot #3: Harrison MacDonald
  • Transport Driver: Sage Brocklebank
  • Merc on the Road: Coulton Jackson
  • Stoner: Sean O. Roberts
  • Emily’s House Merc: Colin Corrigan
  • Cryptographer: Anousha Alamian
  • Guard with Rory: Ryan Scramstad
  • Barn Merc #1: Patrick Sabongui
  • Barn Merc #2: J. C. Williams
  • Barn Merc #3: Sean Kohnke
  • Translator (voice): Juan Pacheco
  • Merc #1: Lars Grant
  • Merc #2: Byron Brisco
  • Merc #3: Fraser Corbett
  • Merc #4: Chad Bellamy
  • Dr. Yamada: Peter Shinkoda
  • Scientist: Aaron Craven

Film Crew:

  • Editor: Billy Weber
  • Writer: Shane Black
  • Producer: John Davis
  • Casting: Sarah Halley Finn
  • Supervising Art Director: Michael Diner
  • Editor: Harry B. Miller III
  • Set Designer: Robert Woodruff
  • Director of Photography: Larry Fong
  • Music Supervisor: Dave Jordan
  • Stunt Coordinator: Marny Eng
  • Writer: Fred Dekker
  • Production Design: Martin Whist
  • Supervising ADR Editor: R.J. Kizer
  • Storyboard Artist: J. Todd Anderson
  • Makeup Department Head: Victoria Down
  • Art Direction: Cheryl Marion
  • ADR Mixer: David Betancourt
  • Sound Re-Recording Mixer: David Giammarco
  • Stunt Coordinator: Guy Bews
  • Stunts: Marshall Virtue
  • Stunt Coordinator: Chris Webb
  • ADR Voice Casting: Caitlin McKenna-Wilkinson
  • Armorer: Ric Walkington
  • Costume Design: Tish Monaghan
  • Casting: Candice Elzinga
  • Executive Producer: Bill Bannerman
  • Music: Henry Jackman
  • Concept Artist: Milena Zdravkovic
  • Sound Mixer: Kelly Zombor
  • Costume Set Supervisor: Natalie Simon
  • Visual Effects Supervisor: Jonathan Rothbart
  • Second Unit Director of Photography: Roger Vernon
  • Production Assistant: Conner Dwelly
  • Casting Associate: Hannah Cooper
  • Visual Effects Supervisor: Matt Sloan
  • Visual Effects Producer: Philipp Wolf
  • Art Direction: David E. Scott
  • First Assistant Editor: Michael Nouryeh
  • Sound Assistant: Jordan Sy
  • Art Direction: Andrew Li
  • Art Direction: Shannon Grover
  • Set Decoration: Hamish Purdy
  • Music Editor: Peter Oso Snell
  • Conceptual Design: Emmanuel Shiu
  • ADR Mixer: Nick Roberts
  • Foley Artist: Dan O’Connell
  • Co-Producer: Blondel Aidoo
  • Stunt Coordinator: Lance Gilbert
  • First Assistant Director: Richard Cowan
  • Art Direction: Ravi Bansal
  • Dialogue Editor: Sean Massey
  • Foley Artist: John T. Cucci
  • Creature Design: Ben Mauro
  • Assistant Art Director: Kris Bergthorson
  • Still Photographer: Kimberly French
  • Aerial Coordinator: Craig Hosking
  • Music Editor: Will Kaplan
  • Still Photographer: Doane Gregory
  • Steadicam Operator: Norbert Kaluza
  • Sound Re-Recording Mixer: Deb Adair
  • Supervising Sound Editor: John A. Larsen
  • Best Boy Electric: Niall Fraser
  • Camera Operator: Ian Seabrook
  • Aerial Director of Photography: Hans Bjerno
  • Construction Coordinator: Jesse Joslin
  • Set Designer: Steven M. Saylor
  • Scenic Artist: John B. Keys
  • Visual Effects Editor: Craig W. Smith
  • Unit Publicist: Lorraine Jamison
  • Camera Operator: Sean M. Harding
  • Camera Operator: Dean Heselden
  • Script Supervisor: Ingrid Kenning
  • Aerial Camera Technician: Dane Bjerno
  • First Assistant Editor: Tyler Ruocco
  • Set Decoration: Paul Healy
  • Key Rigging Grip: Sean Oxenbury
  • Concept Artist: Tully Summers
  • Camera Operator: Junichi Hosoi
  • Script Supervisor: Joecy Shepherd
  • Special Effects Supervisor: Alex Burdett
  • Supervising Sound Editor: Skip Longfellow
  • CG Artist: Philippe Sylvain
  • Assistant Art Director: Angela O’Sullivan
  • Senior Animator: Bob Wilson
  • Visual Effects Supervisor: Asregadoo Arundi
  • Assistant Makeup Artist: Beverly Hoy
  • Storyboard Artist: Robert Consing
  • Storyboard Artist: Philip Keller
  • Compositor: Lachlan Tolley
  • Art Direction: Peter Mihaichuk
  • ADR Mixer: Nick Kray
  • Key Makeup Artist: Bev Wright
  • Script Supervisor: Amandine Dufraise
  • Assistant Art Director: Callum Webster
  • Set Costumer: Mariela Zapata
  • Conceptual Illustrator: Josue Clotaire Fleurimond
  • Visual Effects Supervisor: Vincent Poitras
  • Matte Painter: Mathieu Raynault
  • Digital Compositor: Hanuman Patel
  • Visual Effects Coordinator: Michael Asiman
  • ADR Mixer: Michael Miller
  • CG Supervisor: Jérome Escobar
  • CG Artist: Yanick Dusseault
  • Armorer: Rob Fournier
  • Rigging Grip: Rod Haney
  • Production Sound Mixer: David Husby
  • Foley Mixer: James Ashwill
  • Boom Operator: Tysen Schieber
  • Creature Design: Ken Barthelmey
  • Lighting Technician: Clyde Harrelson
  • Digital Imaging Technician: Simon Jori
  • Art Department Coordinator: Marc Aubin
  • Steadicam Operator: Sasha Proctor
  • Assistant Property Master: Ali Macrae
  • Storyboard Artist: Jim Magdaleno
  • CG Supervisor: Sylvain Theroux
  • Orchestrator: Andrew Kinney
  • Costumer: Jenn Touchie
  • First Assistant “A” Camera: Chris Gibbins
  • Assistant Costume Designer: Summer Dietz
  • Costumer: Phuong Chau
  • Lighting Supervisor: Christopher Ahrens
  • Digital Compositor: Xavier Bourque
  • Digital Compositor: Mathieu Girard
  • Set Dresser: Kyle James-Patrick
  • Storyboard Artist: Martin L. Mercer
  • Key Grip: Finn King
  • Concept Artist: Luca Nemolato
  • Lighting Artist: Dafne Sartori
  • Boom Operator: Paul Biason
  • Compositing Supervisor: Alex Guri
  • Aerial Camera: Tommy Douglas
  • 2D Supervisor: Anthony Smith
  • Set Designer: Andrew Lee McConnell
  • Assistant Production Coordinator: Morgan Brady
  • Aerial Coordinator: Kelsey Wheeler
  • Visual Effects Coordinator: Chelsea Mirus
  • Set Designer: Kyle White
  • CG Supervisor: Julian Hutchens
  • Sound Recordist: Luke Schwarzweller
  • Grip: Matt Bonin
  • Digital Intermediate Editor: Noel Albornoz
  • Senior Modeller: Marc Joubert-Nederveen
  • Dolly Grip: Darin Wong
  • Dolly Grip: Julian Chapdelaine
  • Boom Operator: Michael Leder
  • Special Effects Technician: Willard Cochrane
  • Assistant Property Master: Spencer Louttit
  • Gaffer: Simon Hunt
  • Animal Coordinator: Ian Doig
  • Digital Compositor: Lionel Jacobs
  • CG Supervisor: Laurent Taillefer
  • Visual Effects Editor: Christopher Kowal
  • Casting Associate: Martina Smyth
  • Additional Still Photographer: Robert Falconer
  • Music Supervisor: Trygge Toven
  • Assistant Editor: Fred Brown II
  • Paint Coordinator: Vaughan V. Baker
  • Gaffer: Mark G. Alexander
  • Dolly Grip: Nicholas Dent
  • Post Production Coordinator: Hannah Haidar
  • Assistant Camera: James Clare
  • CG Artist: Stéphanie Morin
  • Assistant Makeup Artist: Darah Wyant
  • Special Effects Technician: Kerry Phillips
  • Concept Artist: Adam Dougherty
  • Creature Design: Abner Marín
  • Storyboard Artist: Thomas A. Nelson
  • Orchestrator: Jonathan Beard
  • First Assistant Director: Brandon Lambdin
  • Lighting Technician: Dana Powers
  • Orchestrator: Henri Wilkinson
  • Dolly Grip: Andres Nino
  • Best Boy Electric: Richard Macdonald
  • Dolly Grip: Connor Welsh
  • Visual Effects Coordinator: Amelie Thomas
  • Visual Effects Producer: Jacinthe Côté
  • Production Manager: Adrienne Sol
  • First Assistant Director: Shamess Shute
  • Set Designer: Etienne Gravrand
  • Costume Supervisor: Jennifer Grossman
  • Digital Compositor: Zahid Jiwa
  • 3D Editor: Michael Rostker
  • Focus Puller: Larry Portmann
  • VFX Editor: Bryce Gardiner
  • Visual Effects Coordinator: Bonita Nichols
  • Set Dresser: Kevin Kasper
  • Camera Operator: Brad McGregor
  • Musician: Helen Z. Altenbach
  • Conductor: Edward Trybek
  • Digital Compositor: Steve Ouellette
  • Casting Assistant: Djinous Rowling
  • Conceptual Illustrator: Brian Cunningham
  • First Assistant Director: Justin Muller
  • Conceptual Illustrator: Stevo Bedford
  • Art Direction: Loic Zimmermann
  • Concept Artist: Mauricio Ruiz
  • Storyboard Artist: James Doh
  • 3D Generalist: Robin Lamontagne
  • Senior Modeller: Robert Rioux
  • Sound Assistant: Juniper Watters
  • Second Assistant Camera: Ashton Harmon
  • Matte Painter: Nadim Zaidi
  • Production Coordinator: Kimberly Buckham
  • Concept Artist: Ivan Khomenko
  • Visual Effects Coordinator: Michael Baloun
  • Visual Effects Editor: Andrew Howarth
  • Roto Supervisor: Ashwin Kumar
  • CG Artist: Eliott Beaudon
  • CG Artist: Ghislain Bruneau
  • CG Artist: Etienne Laroche
  • CG Artist: Cyril Plusse
  • Digital Compositor: Cedric Tremblay
  • Visual Effects Production Assistant: Romane Wingerter
  • Concept Artist: Aaron Sims
  • Special Effects Assistant: Christopher Brennan
  • Best Boy Grip: Marco Correia
  • Assistant Production Coordinator: Amine El Fadl
  • Art Department Assistant: Ainsley Barteluk
  • Art Department Assistant: Natasha Stoesz
  • Art Department Assistant: Sumit Sura
  • Assistant Art Director: Benoit Waller
  • Assistant Set Decoration: Scott Calderwood
  • Assistant Property Master: Don Anderson
  • Concept Artist: Shane Baxley
  • Concept Artist: Leandre Lagrange
  • Concept Artist: Stephane Levallois
  • Concept Artist: Alexander Ovchinnikov
  • Graphic Designer: Sam Findlay
  • Graphic Designer: Sally Hudson
  • Props: Connor Coffman
  • Scenic Artist: Sarah Vallim
  • Sculptor: Davtyan Hamb
  • Set Designer: Anamarija Josipovic
  • Set Painter: Bailey Ostiguy
  • Storyboard Artist: Vincent Proce
  • Casting Assistant: Christine Tarbox
  • Casting Coordinator: Suzanne Yavuz
  • Costumer: Patricia Villalobos
  • Set Costumer: Natalya Lazarich
  • Set Costumer: Amie Payne
  • Additional Photography: Robert Finnigan
  • Additional Photography: G. John Turnbull
  • Best Boy Grip: Kevin Fairbairn
  • Digital Imaging Technician: Brian Scholz
  • Digital Imaging Technician: Mark Allan
  • Dolly Grip: Shane Storozuk
  • Dolly Grip: Torstein Colyer
  • First Assistant Camera: Dan Morrison
  • First Assistant Camera: Richard Sinclair
  • Grip: Brett Darby
  • Grip: Derek Evoy
  • Grip: Damien Giles
  • Grip: Graham Johnstone
  • Grip: Lee Wilde
  • Grip: Stu Carl
  • Key Grip: Jon Jovellanos
  • Libra Head Technician: Cary Cooper
  • Lighting Technician: Zachary Abrahamson
  • Lighting Technician: Damian Azriel
  • Lighting Technician: Branden Sparkes
  • Rigging Grip: Christopher Boulton
  • Rigging Grip: Jeremy Goodrick
  • Second Assistant Camera: Spencer Ennis
  • Second Assistant “A” Camera: Jared Krenz
  • Second Assistant “C” Camera: Curtis Nicholls
  • Assistant Accountant: Sarah Jarvis
  • Assistant Accountant: Garth Yakymyk
  • Assistant Accountant: Kathleen Higgins
  • Assistant Production Coordinator: Laurie Cross
  • Assistant Production Coordinator: Simon Guérette-Langlais
  • Assistant Production Coordinator: Caitlin Morrison
  • Assistant Production Coordinator: Jesse Watts
  • Key Production Assistant: Angel Foisy
  • Key Production Assistant: Cameron Mason
  • Production Accountant: Tina Dawson
  • Production Accountant: Ricky Cuevas
  • Production Assistant: Ishtiak Ahmed
  • Production Assistant: Alexander Andy
  • Production Assistant: Karen Ballesteros
  • Production Assistant: Patrick Cahoon
  • Production Assistant: Sam Curtis
  • Production Assistant: Ema Mac Duff
  • Production Assistant: Kate Ferguson
  • Production Assistant: Jade Hamdan
  • Production Assistant: Adam Kleaman
  • Production Assistant: Conor Sawyer
  • Production Assistant: Hannah Shrader
  • Production Assistant: Ilona Tigere
  • Production Assistant: Lauren Witt
  • Production Assistant: Daniele Simone
  • Studio Teacher: Carole Fleming
  • Assistant Editor: Matthew Feinman
  • Editorial Production Assistant: Cole Doran
  • Post Production Assistant: Alex Cerda
  • Post Production Assistant: Wyatt Lennertz
  • VFX Editor: Michael T. Marlett
  • Music Coordinator: Toko Nagata
  • Vocals: Holly Sedillos
  • 2D Supervisor: Gregory Watkins
  • CG Supervisor: Kunal Ghosh Dastider
  • CG Supervisor: Pierre Masseron
  • CG Supervisor: Manolo Mantero
  • Compositor: Leo Luxford
  • Compositor: Peter Herlein
  • Compositor: Alexis Bechet
  • Compositor: Francesc Donaire
  • Concept Artist: Jono Coy
  • Digital Compositor: Decharne Brian
  • Digital Compositor: Lilia Collar
  • Digital Compositor: Beauman Coty
  • Digital Compositor: Kaushalya Dattwani
  • Digital Compositor: Brian Ducharme
  • Digital Compositor: Andrea Dutti
  • Digital Compositor: Hugo Daniel Gamboa
  • Digital Compositor: Chris Ingersoll
  • Digital Compositor: Tristan Dunse
  • Digital Compositor: Stephanie Gadsden
  • Digital Compositor: George Ferris
  • Digital Compositor: Amélie Rey
  • Digital Compositor: Marie-Ève Gélinas
  • Digital Compositor: John Toth
  • Lead Animator: Puneethpb
  • Lighting Artist: Carlos Santiago Velazco
  • Lighting Artist: Syria Toliver
  • Lighting Artist: Karim Abdelhamid
  • Lighting Artist: Dennis Gronau
  • Matte Painter: Josh Ellem
  • Matte Painter: Sarah Neveu
  • Modelling Supervisor: Stefan Schneider
  • Modeling: Qazi Hamza Javed
  • Modeling: Dylan Binns
  • Modeling: Manuel Martin Baena
  • Pre-Visualization Supervisor: Eric Benedict
  • Senior Modeller: John Saleem
  • Visual Effects Coordinator: Kim Doyle
  • Visual Effects Coordinator: Monish Nair
  • Visual Effects Coordinator: Alexander Naud
  • Visual Effects Coordinator: Kareem Babeel
  • Visual Effects Production Assistant: Abhijitsinh Gohil
  • Visual Effects Production Manager: Christina-Cassandra Barazin
  • ADR Recordist: Noah Dunbar
  • Foley Mixer: Jack Cucci
  • Sound Effects Editor: Dale Bartlett
  • Sound Engineer: Cary Clark
  • Special Effects Assistant: Dylan Broughton Cole
  • Special Effects Assistant: Kevin Dykstra
  • Special Effects Assistant: Seth Longworth
  • Special Effects Technician: Douglas W. Beard
  • Special Effects Technician: Josiah Buhler
  • Special Effects Technician: Charles Desrosiers
  • Special Effects Technician: Ben Eadie
  • Special Effects Technician: Rachel Gervig
  • Special Effects Technician: Spencer Graham
  • Special Effects Technician: Eric Lemay
  • Special Effects Technician: Tevin Maker
  • Special Effects Technician: Jon K. Miller
  • Special Effects Technician: Heidi Mistic
  • Special Effects Technician: Sara Villarreal
  • Special Effects Coordinator: Adam Tayler
  • Associate Producer: Zachary Wanerman
  • Executive Producer: Ira Napoliello
  • Stunts: Clay Virtue
  • Visual Effects: Michael Furniss
  • VFX Artist: Satoshi Takazawa

Movie Reviews:

  • Shane: A complete waste of opportunity. The film smacks of studio interference and bad decisions. It starts off decent enough but at the halfway point it turns into a shambles and it does feel as if a lot of it ended up on the cutting room floor. The music was very intrusive and some scenes were so badly lit you had no idea who was just killed or even what killed them.

    Some knowing nods to the earlier Predator films was a nice touch and it was good they didn’t skimp on the gore and violence but all in all it’s a bad movie. Stick to Predator and Predators.

  • Gimly: My mind was racing as I watched _The Predator_ in the cinema tonight. I’d heard virtually nothing good about it so my anxious brain kicked into overdrive the whole time the film was going on. As a result of that, I almost feel like I experienced three movies in that theatre. First, obviously the movie on the screen. Secondly, the awesome movie I was theorising could unfurl at the result of each new sequence and plot point, but that sadly never did. And thirdly, the inexcusably awful and franchise-ruining movie that I feared it was about to take a hard left turn into at any minute, and thankfully never did.

    And that’s really my experience on _The Predator_ overall, and the reason for a stalemate “2.5 outta 5” review: It wasn’t as good as it should have been, it wasn’t as bad as it could have been. Unfortunately, when the movie I’m writing in my head alongside watching it is better than what’s actually on screen, when you take into account that I’m an unimaginative, talentless hack, really doesn’t cut it for a sequel to _Predator_, one of of only five movies I’ve ever given a perfect rating to.

    The best parts of _The Predator_ are when there is an eponymous Predator on screen. So you might think, “Oh it’s not a good movie, but it’s a good _Predator_ movie”, and fair enough a conclusion to draw, but no. Part of the problem is, this movie really could have been pulled off with any aliens at all. Take out the Yautja and replace them with… I dunno, the blue skinned pogo-stick people of Planet Hurfadump, and it can still play out functionally the same. See, although I enjoyed watching the Predators do their thing, there was really nothing beyond cosmetic similarities that made them the Predators we’ve seen in every movie preceding this one.

    I think possibly part of the reason for that is that every other movie with a Predator in it has been an Action Horror movie (albeit Action Horror with ever-increasing Sci-Fi elements from film to film) whereas _The Predator_ is an Action Comedy, just one with some gore. Now I don’t think that taking it that route was necessarily and… abysmal failure, let’s say, but was Action Comedy the **best** way to take the _Predator_ franchise? I think it’s pretty clear that the answer is no.

    Ironic that that direction is being taken by Shane Black, the man who has a history with _Predator_ purely because the crew of the first film were determined to have him to work on the script, which he refused. Now here we are more 30 years later and Shane Black finally **has** put his name on a Predator movie, and it’s not even good.

    Fuck. At least it’s better than _AvP: Requiem_!

  • Sundance Kid: I couldn’t believe what I was seeing. I was inclined to step out of the theater to check if I was sitting in the right room. But there it was, definitely a Predator, but obviously totally misplaced in a ridiculous movie – ridiculous story, ridiculous characters, ridiculous acting, ridiculous everything.

    I was so upset. One of the diamonds of a movie genre thrown in the dirt and made fun of. If you want to see how that’s done, watch this one.

    A total waste of money – on production side and on cinema visitor’s side.

  • SaltyCatFish: Its just not good. The first predator created atmosphere; you were being hunted. The only “Predator” film to deliver another dose of this was Predators.
    This film falls completely short of its predecessors (yes, all of them), but does leave you with a strong impression that this was a cash grab to squeeze any life out of a franchise that surpassed its EOL a long time ago.
  • skipreader: OK, I have to disagree with the other reviewers, to date, of this movie. I totally enjoyed this movie and gave it an 8. Once you figured it out, I thought the story line made complete sense. I loved all the new characters, and thought the camaraderie of the main military characters was great and rather realistic. I don’t know about the other reviewers, but I did serve in the U. S. Army and found the character interplay highly realistic. I am disappointed with the interplay between the “good guys” and our government; however, these days you come to expect that. I don’t believe that part would be realistic, but I don’t think it distracted that much from the movie, and everyone came together in the end…to, of course, save humanity! Which, of course, it did otherwise we all wouldn’t be here anymore…right? Good movie! Go see it and then decide for yourself, but I thought it was definitely worth seeing, so much so I even bought the blu-ray!
  • John Chard: A crushing disappointment.

    The hopes were high for this latest Predator rebirth, not because Shane Black starred in the great first Predator film, so therefore he surely must care about the project? But because he’s an excellent writer and director. Shane Black can count Lethal Weapon(S), The Last Boy Scout and The Long Kiss Goodnight on his CV, he was the man who put Iron Man back on track after the sag of part 2. Plus he is the creator of two of the best buddy buddy neo-noirs this millennium (Kiss Kiss Bang Bang/The Nice Guys), So how come The Predator stinks of lazy cash cow manure?

    Plot in a nutshell sees the universe’s most lethal hunters unleashed on Earth due to the meddling of a soldiers kid and some nosey scientist types. The fate of mankind rests with a group of damaged ex-soldiers and a rather cheesed off female scientist.

    We have a rehash mishmash of what we have seen before in Predator 87 and Predators 2010. A group dynamic fighting a seemingly invincible foe. The subsequent science aspects such as human DNA inference/reasoning etc never really add up to much, serving only for a bunch of standard actors shouting, swearing and spouting hopelessly weak jokes and series re-treads. When you think the pic is about to up a gear, get rivetingly dramatic, a poor slice of humour comes our way either by vocal spillage or visual drivel (puppy pet Predator dog, really?). There’s a bunch of plot threads that just dangle never to be pulled (PTSD/our hero’s family strife et al), and the Predators loose on Earth – with different agendas – are confusingly shifted about by a screenplay not sure where it wants to land.

    Plus points? Well the cinematography is superb (Larry Fong), and you can’t fault this for action quotas, there’s plenty of it and it’s bloody (both red and green type). The score is the traditional one we had from Alan Silvestri back in the 87 film, in fact it hardly deviates from it and yet Henry Jackman gets the credit. Of course some of the jokes will work for some folk (I would be lying if I said a Whoopi Goldberg gag didn’t make me laugh), but the terror has gone, these Predators are no longer scary creatures. This reeks of a troubled production going hand in hand with a cash cow that not only narratively adds up to nothing really, but of a franchise death knell. Shame. 3.5/10

  • 5rJoud: **”Long story short”**

    Unlike the clueless reviewer (on a different website) who I quoted in the headline, I will not proceed to write 5 paragraphs of meaningless drivel about a movie I hate.

    Usually all of the AvP movies, Alien, Predator and the cross overs are at least a solid 3.5 stars. Of course the original Alien trilogy as well as Predator 1, 2 and even Predators stand out as being very original. The difference between the originals and the spin-offs is clearly the tone they set. In this movie we get a comic book style presented, with by no means bad CGI (dogs looked more real than in Predators for example), a secret research conspiracy, and charismatic heroes getting slaughtered (or not, no spoilers). Just like in the graphic novels, the pace is neck breaking. The ending felt almost rushed, to introduce the new Predator Killer Weapon. It is understandable how regular movie goers are put off by the constant over-stimulation, but I would not want it any other way. The action is over the top, definitely. But there was great attention to detail how the action scenes played out exactly, as opposed to lesser action films in which a flurry of cuts leaves a thinking audience just confused about what just happened.

    Sure, I would have loved a darker vibe throughout the film too, especially in the beginning the score reminded a little of a Disney orchestra playing. But “The Predator” was a hell of a ride and deserves a special place among the spin-offs.

    28 November 2018

    I am migrating my reviews from a different site which has become simply garbage. TMDB looks awesome and I look forward to be a part of it.

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