It was way back in 1987 when we first became aware of the intergalactic trophy hunter species known as “Predators.” The killer creature in that first film had its technologically advanced hands full with Arnold Schwarzenegger and a bunch of other 80s muscle guys. Since then, the franchise and the mythology of the Predators have expanded significantly to include six more mainline films and two crossovers in the shared “Alien” universe. The last three of the main story movies have been directed by Dan Trachtenberg, and he really seems to be on to something.
With 2022’s excellent “Prey,” and this past summer’s animated anthology “Killer of Killers,” Trachtenberg has confirmed his place in the Predator Film Hall of Fame. He has an effortless feel for the material and what seems to be genuine reverence for it. The only question after those two critically successful outings, was whether or not he had enough left in the tank for a third. Turns out he did. “Predator: Badlands,” out now in theaters, is ostensibly just another sci-fi murderfest with great special effects and creative weaponry. It is that, yes, but also so much more.
It’s a principled revenge thriller. It’s a coming-of-age journey through nearly unbearable trials. It’s – and I need you to just stay with me here – a story about the bond between siblings, both given and found. Like so many of the best genre titles, “Predator: Badlands” is a unique character study, featuring a perfectly credible and definable arc from darkness to light. The fact that I’m speaking here of one of cinema’s most vicious villains should tell you something about how interesting and risky Trachtenberg’s idea is.
The specific Predator in “Badlands” is an outcast named Dek. Yes, that’s right, we’re giving them names now. Dek has flown to the hostile planet of Genna to claim the biggest prize in the prey pantheon of his people, so that he might finally gain acceptance among them. Right from the opening set piece, Dek is a heroic figure and that never changes. I was rooting for him the entire time and, by the end, I was more interested in the inner workings of Predator (or Yautja) culture than ever before. I definitely want to see more stories told through their eyes.
Okay, so maybe you aren’t buying my thesis about “Badlands” being a truly elevated genre experience. Let’s talk about how it functions, then, based solely on the standards of its action-adventure class. The effects are first rate. The action is intense and physical and expertly choreographed. Dek is an expressive being despite his unorthodox face, and Elle Fanning is amazing as the Weyland-Yutani (remember “Alien”?!) robot sidekick named Thia.
20th Century Studios is owned by Disney now, so it should come as no surprise that “Badlands” also has some obligatory Baby Yoda energy going on. Don’t worry. It works just fine in a plot that is supposed to be fun instead of frightening, as does every other effort to make this hostile cinematic world and the ruthless hunters that populate it a little bit more sympathetic. Predators are supposed to be the bad guys, plain and simple. But Dek is not. Thia sees it immediately, and she expertly leads us viewers to that realization with regular interrogations of Predator pride and personality.
It would be so easy to couch my impressions of “Predator: Badlands” by finishing every sentence with the phrase “if you like this kind of thing.” I suppose sci-fi is not for everyone, especially brutally violent sci-fi. But I appreciate a film that tests the fences of its category enclosure and tries to say something bigger than anyone expected. Director Dan Trachtenberg has done something fresh with old ingredients, and it really works. But what do I know? I just like this kind of thing.
