PREDATOR: KILLER OF KILLERS – Review

It’s always great as a reviewer when you can alert folks to a film that’s truly worth their time, a real engaging story full of twists, turns, and often very pleasant surprises. An even greater “stunner” is the fact that it’s the sixth (though some may argue it’s the eighth) installment of a nearly forty-year-old film franchise. Normally, I’d suggest that you would be wise to order tickets early to see it at your favorite multiplex, but I can’t really do that. So, here’s the perplexing and frustrating part: it premieres on a streaming app. However, it’s more than worthy of an IMAX-sized screen. The last time I felt like this was three years ago, with the action/SF/thriller PREY. And, wouldn’t you know it, this is from the very same “shared universe”. By the way, did I mention that it’s an animated anthology? Just another element in the countless delights of PREDATOR: KILLER OF KILLERS. Let the “hunt” begin!

Yes, I did say “anthology”. At least for most of the movie. Each section has its own time period and title. First is “The Shield”, set in the early ninth century. This is a Viking revenge fable focusing on the angry warrior queen Ursa (voice of Lindsay LaVanchy), who is leading a crew of killers, including her own teenage son Anders (Damian C. Haas), on a quest to take King Zoran out, the man who murdered her father. But when they breach his sanctuary, Ursa and her compatriots are not alone. It turns out that the hunters are being hunted by an otherworldly demon, a Predator. We zip ahead about 800 years for “The Sword”, set in feudal Japan. This one’s a tale of family rivalry as a grim shogun pits his two pre-teen sons against each other over the ownership of his estate. One brother triumphs as the other is banished. The years go by, and the father passes on. Before son Kiyoshi claims his inheritance, his prodigal brother Kenji (Louis Ozawa) returns. Ah, but a different Predator silently observes, waiting for his time to strike. Finally, we’re in the 20th century, though at the start of WWII. In “The Bullet”, we meet newly drafted Latino-American (I’m guessing Cuban) John Torres (Rick Gonzales) is a gifted mechanic stationed on an aircraft carrier near Vichy France. He yearns to fly, but his supervisor, Captain Vandy (Michael Biehn), just wants him to make sure the planes are ready for combat, including John’s rickety fighter he’s dubbed “the Bullet”. Several pilots land in damaged planes, telling of a weird, almost invisible “enemy”. Vandy takes his squad into the “danger zone” as John finds something odd embedded in one of the engines. It’s a metal spearhead, unlike anything on this Earth. He then disobeys Vandy’s orders and takes Bullet into the battle. He arrives in time to see several squad members get taken down by a “bogey,” which becomes visible when struck. It’s an attack spaceship piloted by another Predator. When the fight ends, John’s saga is far from over as he finds himself in a locked cell on a vessel along with Ursa and Kenji. The trio, who are unable to communicate, have odd metal collars snapped around their necks and are eventually led off the ship and into an arena filled with the Predator beings. The warlord/MC informs them that they must fight to the death or their collars will explode. But John tries to inspire them to work together. But can this mismatched team survive a giant, savage alien beast and attempt to somehow find a way home?

Speaking of PREY, the same talented director is behind this. Dan Trachtenberg works with co-director Joshau Wassung to create this compelling, original exploration into the mythos of these iconic movie alien a*#kickers. They’ve even taken animation feature storytelling to a new level, expanding on the dramatic possibilities opened up by the “Spider-Verse” films. Yes, there have been many dramatic/ action animated features before (BATMAN: MASK OF THE PHANTASM immediately springs to mind), but this tackles the brutal intensity of any live “R-rated” horror/action epic. While most of the straight-to-home-video films feel close to the “four-color” comic books, this is more akin to the darker balck and white “graphic” magazines from the Warren company (“Creepy”, “Eerie” and “Vampirella”, the “unholy trinity”), though Marvel would “dip their toe” with “Savage Tales” and its ilk. Basically, the carnage is more straightforward, as the Predators chop and dismember with ghoulish glee. Oh, and the creature design is inspired. Yes, each has that “crab-pincer” mouth, but each segment has wild variants with weird weapons. Fighting the Vikings is a Hulk-like, near seven-foot-tall alien (one of the crew calls it “Grendel”), sporting a “repulsor/sonic blaster” for a right claw. In Japan, we get a leaner. graceful sword-wielding hunter with a spear on a whip-like chain. The “battle ace” beast has a smooth dome as it propels all manner of devices (constricting nets, grappling hooks, etc..) from its armored hull. And the animation is superb, though it appeared a bit stiff in the early scenes. Perhaps this was to make the battle energy more impactful (it does). And each “chapter” has a distict tone, with “The Shield” looking dark and chilly”, “The Sword” giving a Springtime feel with the forest landscapes, as opposed to the 1940s early “recruitment poster color” of “The Bullet”. It’s all paced perfectly with an “Easter egg” final shot that will have fans jumping from their couches. And that’s my only real complaint. In a “just world” I’d have been swept up in these sprawling stories by being engulfed in the biggest screens, with booming Dolby-type audio. Nope, this is only streaming, and its quality is on par with any of the other recent franchise entries. Bravo to Trachtenberg and company. Those “trilling/growling” hunters are in great hands. And I anxiously await your next live-action installment in November, PREDATOR: BADLANDS. But for the next few months, fans will be delighted, becoming eager “trophies” for the animated epic PREDATOR: KILLER OF KILLERS.

3.5 out of 4

PREDATOR: KILLER OF KILLERS streams exclusively on Hulu beginning on Friday, June 6, 2025