by Heath Lynch, Contributing Writer
After the iconic original Predator film hit it big back in 1987, the subsequent franchise it spawned has been… rocky at best. In fact, many would argue that there hasn’t been a single good film released in the series since the original, although I would say 2010’s Predators is at least decent. However, there was quite the detrimental critical and audience consensus after The Predator released in 2018 — the franchise was at an all time low, and it maybe even should have been put to rest.
Now here we are in 2022 with the sneaky release — straight to Hulu — of Prey. This new film is a chronological prequel taking place in the 1700s, so far before any of the other films that it doesn’t mess with any established lore, giving it the freedom to be creative and explore all kinds of new possibilities. Man, does it ever succeed. Whether it’s the tremendous lead performance from Amber Midthunder, the unsettling sound design, strong female empowerment, gorgeous panoramic cinematography, or the gripping and visceral action, Prey reminds us why moving everything to the small screen from the silver screen isn’t always a good idea. This is peak summer blockbuster entertainment, and this may even be the best film this franchise has ever seen.
Prey follows Naru (Midthunder), a Comanche warrior living with her tribe in the Great Plains in 1719. Although she may be a warrior, she is not granted a warrior’s lifestyle as she is a woman. Skills be damned, she is instructed to be a gatherer, not a hunter. But things start going sideways for the tribe when many of the male warriors begin disappearing, or showing up dead and mutilated. It soon becomes apparent that the hunters are being hunted by a monstrous creature that threatens the lives of everyone in the tribe. Now, Naru has the chance to prove herself, but if she can’t do it… death is the punishment.
Prey’s director Dan Trachtenberg is a puzzling figure in the directing world. He has only ever directed two films in his entire career. The first was 2016’s 10 Cloverfield Lane, starring Mary Elizabeth Winstead and John Goodman. It was beloved by critics and audiences alike. But after that film was released, for as much as people who liked it, Trachtenberg didn’t direct another film until Prey here six years later. But I have to say, he didn’t waste this time. His skills as a director feel even more impressive here than in 2016. There’s a great understanding of space and geography, which translates into some terrific action sequences. There are unique framing techniques, like when we as the audience are hiding inside a thicket with Naru while we watch a bear fight the Predator. There’s also a really impressive oner as Naru assaults a French encampment that’ll leave you hooting and hollering. In so many ways, Trachtenberg is on top of his game, and after two exceptional films I’m left shouting at the powers that be in Hollywood, please let this man direct more movies!
One person that has to be in lockstep with the director, though, would be the cinematographer. Here, Jeff Cutter is delivering some of the most beautiful shots we’ve seen out of any film all year long. Gorgeous and stunning vistas and panoramas. Exquisite shots of nature juxtaposed against violence and blood. It’s bold and visceral, while being wistful and serene. Whether that’s a babbling brook, a burnt out woodland, or a moss-covered bog, it’s a perfect visual pallet for the audience to take in, while being the perfect backdrop for this brutal action film.
Trachtenberg’s vision allows for his performers to thrive, while also delivering one of the most fully realized portrayals of Indigenous Peoples in Hollywood film history. I said it before, but it’s worth repeating, Midthunder is terrific here. She’s expressing palpably real feelings of rage, sorrow, hunger, and pride that are relatable in so many ways. Her tremendous work anchors a cast of fellow Native American actors that helps to deliver a vibrancy and perspective on Native Americans in film that arguably no other film has done before. It says a lot about this movie with how respectful it is to its people and their culture. Whether in how they converse with one another, their clothing, or their way of life, I cannot think of another major Hollywood film in my lifetime that’s been this rich with indigenous culture. Seriously, all you need to know is that there is a version of this film that’s dubbed entirely in Comanche and you’ll instantly understand how respectful this is.
If that wasn’t enough, Prey is also delivering on its messaging in ways very few action films ever do, especially when compared to other films in this franchise. Because this movie understands this series down to its roots. It’s the story of mankind being put up against an unstoppable force with the simplicity and lethality of nature as a backdrop. The odds seem insurmountable, and it’s that huge underdog angle that gets you invested in the story. Beyond that, the movie understands the pro-feminist slant that it’s injecting into the storyline. It’s tackling issues with the patriarchy and the challenges a woman faces in a male dominated society. It takes a look at what it would mean to buck the trend and have a woman step forward to lead when no one wants to fall in line. More so, it acts as a direct response to those who do not believe or listen to women when they tell you there is a problem. I was really impressed with how subtly, but smartly, the movie had Naru warning all the other warriors and tribe members about a greater threat, but no one would believe her, and it led to direct repercussions and death. In many ways, Prey actually feels like one of the better pro-feminist movies since the advent of the #MeToo movement years ago. It very clearly puts forth its messaging without pandering or diluting that message. It’s incredibly smartly crafted.
But if all of this wasn’t enough, if you weren’t impressed by Trachtenberg’s direction, Midthunder’s performance, the inclusivity and appreciation for the Comanche people, or the female empowerment, you still have one banger of an action flick as a backbone to hold everything together. While the first half of the film may be slower as it sets up all of the pieces of the puzzle, the second half is relentless. The earlier character development helps later on, too, as we are more invested in the characters when people’s lives end up being on the line. And trust me, a lot of lives are at stake. The body count of this film is quite high, and you will see them mauled in spectacular fashion. Once our Predator gets cooking, there’s no amount of carnage he can’t instill. And just when you think the movie is out of cool tricks and unique ways to end someone’s life, it hits you broadside with yet another out of nowhere kill that will leave action fans cheering.
The splendid sound design helps to impress upon the audience the impact of this action. When a character gets knocked out, you feel it as you lose your sense of sound when everything cuts out. We feel the hair on the back of our neck stand up as the Predator makes vocal clicking noises around their prey. The weapons, the splintering of bones, the roars of pain, of animals, and of the Predator… it’s all great. I haven’t been this invested in the actual action of an action movie in quite some time. That’s a testament as to how much this movie delivers.
To say that Prey is a step in the right direction for the Predator franchise would be a massive understatement. It’s the definitive direction. Prey is a fantastic action blockbuster, and I’m saddened that I couldn’t enjoy it on the big screen with a booming sound system. There are a lot of people stating that this is the best sequel in this series, and the best film since the original Predator. I would challenge anyone saying that to set aside their nostalgia and see this feature for what it is — the best this series has ever been. Sure, Arnold Schwarzenegger was iconic, there were memorable lines, and solid action scenes, but none of it matches what this has to offer. From the direction to the messaging, and the performances to the action, Prey is fantastic. The best Predator movie ever made, and one of the best action films you could see this year.
Score: 8/10
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