The Predator

Ulkar Alakbarova

4 years ago

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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.

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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