Prey is the kind of Predator movie I have been clamoring for years to make. The franchise was in some major need of a mojo rejuvenation, and instead of constantly repeating the same stories to lesser and lesser effect (see: 2018’s sloppy release), the filmmakers finally saw the obvious and exciting answer. By placing the Predator into different points and places in world history, the producers have finally tapped into the creative potential of the equation of [cultural warriors] vs. alien bounty hunter. Each new movie allows a new selling point jumping from famous warrior to famous warrior. Imagine samurai versus the Predator, or Crusaders versus the Predator, or Vikings versus the Predator, or a Wild West showdown against the Predator. It would be like an intergalactic Deadliest Warrior franchise. It’s a super advanced alien species, so why can’t we establish that they’ve been flying to Earth for centuries for their recreational sport? Each movie can establish a larger mythology, but it also just supplies the fun of seeing history’s greatest warriors and different settings and cultures versus a powerful alien monster. Prey is the best Predator sequel, by far, and arguably as entertaining and engaging as the 1987 original.
In 1719, we follow a tribe of Comanche in the Northern Great Plains. Naru (Amber Midthunder) wants to be a respected warrior like her big brother, Taabe (Dakota Beavers), who cautions her about the weight of responsibility. She discovers strange tracks and is convinced that their tribe is not safe from a new predator. How little does she know how right she is.
Within minutes, Prey had me. I’ve seen complaints that the first half is slow, but I think people are discounting the time needed to establish the ordinary baseline life of this community, their relationships and conflicts and goals and hopes, before introducing the change agent. That takes time if you want to be able to understand this different life but also if you want to really connect with the characters. The first half provides the foundation for the second half to run with and have bloody mayhem that counts as more than surface-level entertainment. The best compliment I could provide for screenwriter Patrick Aison (plus director Dan Trachtenberg) is that had the Predator never beamed down, I still would have found the story to be interesting. The details are rich and build an authentic picture of life 300 years ago before European colonists would completely upend indigenous life. The Predator series, at its core, has been a nativist underdog tale, where the primitive people of Earth have battled against the technologically superior alien warrior. The dynamic makes it easy to root for the Earthly heroes, but it’s even easier when you have a protagonist like Naru, fighting for respect as a woman already. The character is shown as headstrong but capable, and her mistakes provide opportunities for her to learn and better strategize later. I genuinely gasped when certain indigenous characters died. I’ve never had an emotional response to any Predator film.
The reveal of the Predator is cautiously handled, with the big guy taking time to explore his own surroundings. I enjoyed that this Predator also isn’t as advanced as his more modern ilk. He wears an intimidating alien skull mask and has more limited, though still high-tech, weaponry. I also enjoyed that this Predator feels like he has more of a personality. It’s not just a mirthless tall guy in a thick suit. The actor, Dane DiLiegro, is still providing a tactile, physical performance, and he has moments that reveal the cruelty of this alien but also its volatile temper, which is kind of hilarious. He encounters the wildlife and goes from snake to bear to man, right up the food chain, but some of his more violent kills demonstrate an almost petulant attitude. This is a Predator that doesn’t quite have it all together, and it makes the eventual battle with the Comanche feel like a conflict that has two sides that are worthy but also with their vulnerabilities. It makes the final showdown more interesting. It also allows us to take perverse pleasure in the big guy mowing down a team of predatory French fur trappers that imprison Naru and use her as bait. Oh boy, the gory comeuppance is fun.
The action sequences are smoothly handled by Trachtenberg (10 Cloverfield Lane) who favors verisimilitude without sacrificing the visual artifice. The photography is gorgeous, and the emphasis on natural light and environments add so much the overall authenticity. Trachtenberg also knows what visual style will work best with which moments. There’s one scene where Naru sneaks back into the trapper camp and her vengeful fury is portrayed in a breathless long take to make the moment even more intense and enjoyable to appreciate the beat-by-beat fight choreography. The scenes with the Predator stalking in the fog play with claustrophobic suspense. The action has a very pleasing sense of construction that clearly presents the pieces that are needed for the scene-to-scene goals, and then the characters will adapt as necessary through organic complications. This is just good action construction, and Trachtenberg fields each like an expert.
Another fun addition with Prey is that they filmed it with two audio tracks, an English-language track and one fully in the Comanche language. It’s not the most necessary option since most viewers will likely simply watch it in English, or not know about the alternative until after watching, such as myself, but it’s an impressive addition that can make the movie even more immersive and authentic and generally considerate of another culture and language.
Now, with all my points of praise for Prey, why oh why did Disney shunt this movie straight to its secondary streaming arm with Hulu? After the Fox merger, I understand that the Mouse House doesn’t quite see the same level of value in every Fox property not named X-Men or Avatar. This was restarting a franchise that still has some life in it, but even more than that, this is a good movie with plenty of artistic acumen that would have played splendidly on a big screen and an excellent sound system to really sell every fleshy slice and alien gurgle. It seems preposterous to me that a new Predator movie, let alone an actually great one, is denied theatrical release. I know the domestic box-office is still not what it was before the COVID-19 pandemic. I understand that Fox’s leftovers don’t have the same sexy appeal to the new bosses. It just puzzles me that nobody thought that they would make money off of Prey, which has proven to be a big hit on Hulu with critics and fans (ignoring cranky misogynists questioning the physical ability of women). Prey is a great action movie built upon solid characters and patient, clear plot and action development. When it comes to gore, I wish it wasn’t as heavily CGI and a more memorably gruesome, but that’s my only real criticism of what is fundamentally a fun and exciting movie. Give me more like Prey.
Nate’s Grade: B+