It’s certainly no secret that the Predator franchise has not exactly spawned what one would describe as “cinematic masterpieces” – the original 1987 movie (and first sequel, released three years later) instead now residing firmly within the realm of cult classic certification, with most of the subsequent offerings falling well short of expectations. 2022’s Prey, on the other hand, proved to be the shot in the arm the series desperately needed – putting a fresh spin on the standard formula while showcasing the future potential and direction Predator-related media could take. And if the most recent addition to the main movie line is anything to go by, the future is looking mighty bright indeed.
Directed by Dan Trachtenberg (also known for the aforementioned Prey, the upcoming Predator: Badlands, and 10 Cloverfield Lane, among other television credits), scored by Benjamin Wallfisch (Blade Runner 2049, Alien: Romulus) and written by Micho Robert Rutare, Predator: Killer of Killers is an animated anthology movie that chronicles major events in the lives of three prominent “warriors”, all centred around various Yautja (or Predator) appearances/attacks – set within three distinct periods of human history: the Viking Age, Japan’s Edo period, and the tail end of the Second World War. There’s a surprising amount of weight carried within each tale, with more emotionally impactful scenes than I was expecting, in all honesty - between the deliciously brutal, fast-paced, and stylish action sequences, of course. Which is what we’re all ultimately here for at the end of the day.
These diverse historical backdrops are a massive breath of fresh air, providing appropriately striking visuals (the frozen Scandinavian landscape, or an imposing Japanese castle, for example) and grabbing your attention for the entire length of the film. In addition, the small cast of characters introduced as the storylines unfold are all fleshed out superbly with excellent voice acting (including the likes of Predators’ Louis Ozawa Changchien, Reaper’s Rick Gonzalez, notable anime dub/video game actress Cherami Leigh, and Lauren Holt of Saturday Night Live fame) and boast incredible amounts of character development for such a small amount of screen time – the end result being that Killer of Killers manages to achieve a hell of a lot with basically zero drawn-out exposition or plotline bloat.
There’s a surprising amount of weight carried within each tale, with more emotionally impactful scenes than I was expecting, in all honesty.
Going the fully animated route here was also a fantastic idea, utilising Unreal Engine to deliver a final product that simply would not be anywhere near as atmospheric, fun to watch, or visually impactful if it was done through live action with real world actors. The same can be said for the action-heavy scenes, where avoiding stepping into the realm of ultra-realism ends up lending a lot more personality and excitement to the moments in question. Each Predator encounter likewise feels special, almost tailor-made to fit the historical period (and humans they go after) in which they appear.
I’m purposefully not going into any details regarding story events here because, quite frankly, I believe these kinds of movies should be experienced as blindly as possible. If you’ve seen any Predator films before, you’ll know what you’re in for here as far as plot format goes. Plus, half the fun of watching these movies is witnessing how the creatures, characters, and settings come together in gloriously violent fashion – although I will mention that there is a central overarching narrative connecting all three Killer of Killers arcs that comes to a head in the final act.
Each Predator encounter likewise feels special, almost tailor-made to fit the historical period (and humans they go after) in which they appear.
A final act which is, unfortunately, easily the weakest part of the entire movie. I genuinely would have been completely fine with Killer of Killers rolling credits after the third story, but instead we’re given what feels like a tacked-on, unnecessarily comedic, rushed, deus ex machina-fuelled ending sequence that concludes on a purposefully open-ended note (with a small nod to Prey thrown in for good measure). It’s not terrible by any means, nor does it ruin the overall viewing experience, but it does feel noticeably less grounded or believable than everything preceding it – which I am well aware is saying something, as far as Predator titles are concerned.
As an added note, for those unsure as to whether this should be their first Predator movie, I’d highly recommend at least watching Prey beforehand – though you will absolutely benefit more from watching the first two releases as well (Predator 2 is an entirely different beast from the first movie, however). In my opinion, everything between 1990’s Predator 2 and 2018’s The Predator is totally optional viewing.
While not as consistently strong as Prey, and nowhere near as amazingly cheesy as classic Predator, Predator: Killer of Killers takes a refreshing concept and executes it remarkably well, save for an admittedly underwhelming closing sequence – all while confidently standing out from the prior cinematic instalments by being the first animated mainline entry. With its visceral action, diverse selection of settings, and great vocal performances, Killer of Killers is a highly entertaining and worthy continuation of the Predator legend.