Film Name:鐵血戰士 / The Predator
The Predator franchise never truly achieved blockbuster status. It was merely a B-movie that, by sheer coincidence, received A-list treatment after its release. Coupled with its continued popularity in the early 2000s through its tie-in with Alien, it gained an influence far beyond that of your average cult film.
This conclusion holds even less weight when applied to domestic audiences: Forget any deep attachment to these alien creatures—I’d wager few people would bother researching the Predator franchise’s history.
After all, its design and marketing appeal feel decidedly “out of step” with today’s mainstream aesthetic.
So approach this film with the right mindset: treat it as light entertainment, not something to take too seriously.
[Spoilers ahead, but this film doesn’t mind.]
Let me be upfront: if you’re looking for a logically coherent, intellectually satisfying movie this year, skip this one—The Predator.
The film follows two Predators arriving on Earth for different reasons and launching a killing spree. Its plot provides ample fodder for nitpicking, with numerous inconsistencies in their motivations and actions alone.
Moreover, elements like the male lead McKenna being so reckless he ships mysterious alien gear home, the research organization led by Trege operating under baffling protocols, and soldiers sacrificing themselves without rhyme or reason—while the film offers explanations for these, most issues don’t hold up to scrutiny. Even if the explanations seem plausible, you can definitely find a ton of plot holes.
Calling this “The Predator” a terrible movie is perfectly justified.
At its core, the Predator franchise is an old-school sci-fi action series: an alien creature goes on a killing spree, supporting characters get wiped out, the protagonist saves the day, and that’s the end of it.
Even in 2018, this film hasn’t altered the core essence of the genre. The story merely needs to be vaguely coherent; the rest is filled in with CGI models, blood splatter, beefy guys, guns, and loud explosions—all packed with cult appeal.
However, director Shane Black (previously behind “Iron Man 3”) doesn’t merely indulge in nostalgia. He injects some distinctly “modern” elements into the film.
For instance, repeatedly questioning and mocking the Predator’s moniker as a trendy form of self-deprecation—it works, in my opinion. and the diverse cast of ailing veterans helps reduce the stereotypical one-dimensionality often found in supporting characters of this genre, while also delivering plenty of laughs.
While staying true to its core essence, “The Predator” employs fresh approaches to soften the film’s dated rigidity—essentially “old wine in new bottles.”
But what surprised me most was the Predator’s final verdict on the “powerful humans” in this installment.
In previous Predator films, this “advanced yet primitive” species revered brave and formidable warriors. Any human capable of slaying one of their own earned their respect and favor—typically someone in the mold of Schwarzenegger… Yet in this film, the only “warrior” acknowledged by the Predator was McKenna. Everyone assumed it referred to the male lead, Quinn, but it turned out they were talking about his son, Rory McKenna.
McKenna was weak as a kitten and had long been bullied by classmates. The Predator’s recognition of him stemmed solely from his exceptional talent and unique cognitive abilities. The Predator, adhering to its policy of “hybridization and eugenics,” captured him precisely to further refine its own genetic lineage—what does this reveal? They weren’t just focused on “strength” and “health points”—they wanted to borrow some “intelligence” from humans too!
In “The Predator,” this was probably the most “unconventional” and novel concept… though that’s about all it amounted to.
Additionally, the film features several recognizable non-A-list actors: Boyd (Narcos, Wolverine 3), Sterling (Black Panther, This Is Us), Olivia (The Newsroom, X-Men: Apocalypse), Jigan-Michael (“Key and Peele”), Alfie (“Game of Thrones”), and others. This small ensemble cast is a minor plus.
Judging by the actors’ performances, they seem quite relaxed… Combined with the film’s production values and star power, it’s clear this “The Predator” is a Hollywood assembly-line product built purely to make a quick buck. Perhaps the creators themselves have a perfectly healthy attitude toward it—audiences nitpicking every detail might be overreacting.
Personally, I’d say it’s watchable but not essential. If you don’t mind killing some time, just bring your eyes, give your brain a break, and enjoy the spectacle.
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