PREDATOR: KILLER OF KILLERS

Predator: Killer of Killers offers up all the Predator carnage that fans of the long-running series desire, and even though the ideas at play in this anthology film are intriguing, the animation style is not for everyone and the film feels like a mere stepping stone towards the franchise’s future.

For years, Hollywood has been trying to make a proper Predator sequel. The original Arnold Schwarzenegger 80s starring action flick quickly became a fan favourite of the science fiction action genre, and since then we have seen one direct sequel to the original film, two attempts at rebooting the franchise, and two Alien vs Predator films. But, none of these films were able to capture the intensity and excitement of the original film… until Dan Trachtenberg entered the picture. With 2022’s Prey, Trachtenberg reignited the series with a gripping adventure set in the 1700s and following a young Comanche woman who finds herself the target of a deadly Predator, led by a breakout performance by the fierce and ever talented Amber Midthunder. Becoming an instant hit on streaming, not only was another live action Predator film from Trachtenberg announced, which is set to open in theatres later this year, another sequel was developed in secret and only announced late last year: Predator: Killer of Killers. Taking the historical approach of Prey, this animated anthology imagines the Predator’s hunt in feudal Japan, in the era of the Vikings, and during the aerial theatre of the Second World War, with each story promising an exciting and different riff on the alien hunting down some of Earth’s most deadly killers. There is a lot to appreciate with what Trachtenberg is doing with the Predator universe between the gruesome violence and narrative ideas at play, but the animation style and feeling that this film is a mere building block for this years’ Predator: Badlands will hold some audiences back from truly loving this animated anthology.

Being an anthology film, not only does Trachtenberg have to create separate stories that feel fully developed on their own, but thematically tie them together to create one cohesive cinematic experience. While I will remain silent as to how he ties them together, as it’s an interesting twist on Predator lore and begins setting the building blocks for what one can presume is his larger plans for this universe, each anthology story is rich with potential. Spanning time and continents with a viking’s quest for revenge, feudal Japan with samurai and ninjas, and the aerial combat theatre of the Second World War, each storyline is a great idea for a historical setting for a Predator story. With each story playing out as a roughly twenty minute film, no time is wasted introducing the characters and the setting before getting to the violence that viewers expect from a Predator story. But, with this quick pace, the hunt aspect of each story feels diminished, missing that signature aspect of this franchise that separates it apart from other science fiction monster films. It truly felt like that each storyline could have been its own full length feature film, but with a different direction being taken for the next live action instalment rather than repeating Prey, they were all rolled into one animated film to let audiences get a taste of what could have been.

Though, what is most challenging about Predator: Killer of Killers is its animation style. Forgoing a polished computer generated animation style that has defined the films of Pixar, and not evoking the same daring styles of the Spider-Verse films or The Wild Robot, Predator: Killer of Killers conjures up its own animation style. There is a texture to it that gives the film a gritty appearance which is admirable given the savage nature of the story, but the overall style of the animation makes this film feel like it is one massive cutscene from a PlayStation 3 video game… but not in a charming Flow way. While the video game styling of the animation can work in favour of a violent film that itself could be a video game, there is a distracting element that can easily take viewers out of the story and events unfolding on screen. For many this style of animation will work, but for those like this critic who could not get on board with it, it makes for a more challenging viewing experience as it is harder to become fully immersed in the storytelling on display.

Without question, what the time film gets right without any notes is the action. Brutal, explicit, gory and exhilarating, the Predators featured in this film mean business. From rampages against vikings, squaring off against samurai in feudal Japan and an intense aerial sequence, the diversity in the action gives viewers a taste of all types of action that could be expected from a science fiction action film. Each sequence builds upon the ante of the previous, all culminating in an exciting final act that showcases something new for the franchise. Despite being animated, never for a second is the brutality of the franchise lost in the violence, ensuring that fans are going to be eating well with all the carnage on display in this film.

Given the state of the franchise a few years ago, Predator fans can rejoice that they are not only getting one but two new films from Dan Trachtenberg this year. While in the animated anthology format, Predator: Killer of Killers still delivers on the exciting and brutal action that has been a hallmark of the franchise since the original, though each story within the anthology feels like it is barely scratching the surface of their true narrative potential. Though the animation style leaves something to be desired and a full blown film for each individual story would have been more satisfying, there is no denying that Predator: Killer of Killers offers up lots of great action and ideas even if it feels like its setting the stage for where Dan Trachtenberg is taking the series later this year in Predator: Badlands.