Film Name: 铁血战士：杀戮之地 / Predator: Badlands
Just got back from watching the newly released Predator: Badlands (hereafter referred to as Badlands), and I was thoroughly satisfied with the viewing experience. Not only does it deliver as a competent big-screen popcorn blockbuster, but it also manages to find room for some surprisingly nuanced thematic exploration—making it a real steal for the price.
Much of this appreciation stems from the film’s ability to both honor and subvert the Predator franchise. As long as you don’t dwell on its contradictions with earlier Predator films or its integration into the current Alien universe, you can enjoy it without reservation.
For me, the absolute best part of Badlands is that it features monsters and cyborgs from start to finish—the complete absence of humans is such a relief!
The greatest benefit of such a “pure” presentation is that it allows audiences to immerse themselves more easily in that vast, brutal virtual world: a ruthless hunting civilization, a planet teeming with mortal danger, and a bizarre array of terrifying creatures all unfold on screen for your viewing pleasure.
Moreover, while Badlands marks the first time the protagonist is a Predator, his motivations remain relatable to humans: self-affirmation, a change of heart, and revenge.
The film pays homage to classic Predator movies, such as when the protagonist, Deckard, storms the Weyland-Yutani base armed with weapons scavenged from the planet Xenomorph—including monster fangs, razor-sharp needles, explosive caterpillars, venom-spitting darts, and a pet water snake that spews poison…
These very things nearly cost Deckard his life, yet after his equipment was seized, he reconnected with the wilderness as a hunter and conqueror, transforming himself in the process. Consequently, the action sequences feel even more exhilarating.
If the “non-mainstream” Predator Decker represents a rejection and reinterpretation of the franchise, then the cyborg Shia brings freshness and charm to Badlands (I never realized Elle Fanning was this beautiful before).
Her scenes with Decker form a classic “Beauty and the Beast” pairing—visually and in character—while also elevating the action sequences. The fight where Shia’s lower half reunites with her upper half stands out: perfectly choreographed, fluid yet humorous, and utterly captivating.
Beyond its outstanding audiovisual support, Badlands’ complete absence of human characters provides an even more brilliant context for its themes: non-human “monsters” can explore humanity—and do so more effectively.
The film even creates a contrast between “Kyle and Decker” and “Tessha and Shia” to highlight the preciousness and difficulty of sustaining bonds—within the ruthless Predator clan, a brother dies protecting his vulnerable sibling due to emotional vulnerability; among the replicants forbidden to feel genuine affection, a sisterly bond is lost and regained…
Precisely because they are not human, they are not bound by any human societal norms. This lack of moral baggage allows them to embrace their own small clans with a depth that feels all the more moving.
I know this level of dramatic depth may seem insignificant, but within Predator: Badlands—a visual spectacle primarily driven by monsters and action—it stands remarkably impressive (especially when compared to today’s mindless Hollywood blockbusters). A few extra words of praise certainly aren’t out of place.
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