Predator films have always had a deliciously simple plot structure: extremely intelligent extraterrestrial hunter lands on earth searching for the ultimate prey. The hunter decimates anything in its way for two thirds of the runtime. The last act the prey turns the tables. We know it, we love it.
The Predator franchise has been on life support for the last few decades; we wont even talk about the Alien crossover films. 2010’s Predators attempted to take the series back to its roots with its jungle setting and heavy doses of testosterone fueled action. It mostly succeeded and left one optimistic about the future of the franchise. Then in 2018 the jugular was once again severed with Shane Black’s The Predator, an abysmal attempt to once again revive the series, and borders on the “so bad its good” camp more than anything else…
At first glance, Prey appears to be a transplant of the original film, but set far before the 80s. But through the films hour and thirty-nine minute run time, Prey offers up plenty of its own originality and has aspirations of also being a social commentary on gender roles, sexism, and female empowerment.
A prequel film, Prey sends the series back to the Great Plains regions in the early 1700’s. Young aspiring hunter, Naru, played by the fantastic Amber Midthunder, aims to prove herself to the rest of her tribe just how capable of a hunter she is. Attempting to earn the respect of her patriarchal tribe, Naru has to prove to her brother Taabe (Dakota Beavers), her mother (Michelle Thrush) and the rest of her domineering tribe that she can hunt with the best of them.
While on a hunt with the rest of her tribe, Naru discovers the tracks of a creature far larger than what they had set out to hunt. Naturally, the rest of the tribe doesn’t believe her and Naru sets out on her own to hunt the creature thats been leaving death in its wake.
The cinematography is gorgeous. Cinematographer Jeff Cutter captures the beautiful vistas of Alberta. Naru set against the backdrop of these beautiful, yet brutal, settings is reminiscent of American Romanticism. In fact, for stretches of the film I forgot I was watching a Predator movie, and i mean that in the best way possible. Watching Naru tackle her obstacles is comparable to Linda Hamilton, or Sigourney Weaver in their respective films. Trachtenberg does a fantastic job of providing space and clarity in the scenes, especially during the violence. Everything is seen clearly and felt viscerally.
Unfortunately, the shoddy CGI does call for attention. Sometimes, the animated wild life can appear poorly realized, and the Predator itself, when not cloaked in invisibility, can be underwhelming to look at. Stan Winston’s practical Predator from the original film is sorely missed here, with this film’s Predator, mainly the facial reveal, at times, appearing poorly realized and almost cartoony.
Utterly brutal, and beautifully realized, Prey is a fantastic entry into the Predator franchise. It’s stripped down aesthetic is welcomed as a breath of fresh air. Not to mention allowing itself to be a showcase for Indigenous Actors and a nuanced examination of gender roles and woman empowerment. Not only is it the best film in the series since the original, its also one of the best films of the year.
4/5 Whiskeys.
-Dana Keels