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Predator 2 (1990)

Predator 2There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel.  This is wholly unjustified.  Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways.  Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals.  Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.

In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator.  Before long, the vicious creature begins to hunt the hunters – Harrigan’s men.  Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down.  However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.

Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve.  I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here.  The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time.  He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one.  Glover portrays this with the rugged determination of a consummate street cop.  He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces.  However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war.  Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator.  The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically.  He greatly delivers on that end, too.  I think making him a distinctly different protagonist than Dutch was the right way to go.

Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert.  He’s the newest member of Harrigan’s team known as “The Lone Ranger.”  He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player.  This is Paxton at his full charismatic and comedic richness.  He adds the levity to break up the grisly heaviness of the film.  The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team.  Both bring their top level enthusiasm and talent adding to the cast’s vibrancy.  Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope.  He’s puts in a fantastically entertaining performance.

Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2.  Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey.  I think this was an equally beneficial turn of events.  The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan.  Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side.  He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.

Also, I love the Jamaican gang here.  They are totally savage and chilling with King Willie being fantastically awesome.  He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator.  Calvin Lockhart is so awesome in this role.  The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots.  He delivers my favorite performance of the movie.  Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.

The visual effects are distinctly improved from the first movie.  The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution.  The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments.  We see it in more motion and detail.  My favorite effects shots in the whole movie are when the Predator squares off with King Willie.  First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome.  Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic.  These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.

Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness.  It has a great use of dynamic, intriguing angles.  The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting.  Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft.  Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities.  Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.

This new Predator is recognizable, but has a bit different look and feel to him.  He feels more brazen.  He’s taking bigger chances, and taking on greater numbers.  Hunting in a major metropolitan area means he’s attracting more attention to his work.  So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him.  He also taunts Harrigan as if he’s issuing an honorable challenge.  I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective.  It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc.  It gives the impression of a larger safari at hand where he’s equipped for bigger game.  Kevin Peter Hall, yet again, does an awesome, exceptional job overall.  He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later.  However, what he did laid the template for others to succeed him in this franchise.

The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original.  The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation.  The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore.  The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating.  There is still blood abound and plenty of violence, but far less cadavers begin ripped apart.  What we do see in that regard is obscured or done in heavy shadow.  So, it ups the energy and action, but reduces the graphic content a little.

I would agree that these characters are not quite as captivating as those in the original.  Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles.  One if inherently more intriguing than the other.  There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips.  Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself.  Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act.  The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another.  There’s no more survival aspect, just hero versus villain.  There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.

Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up.  However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.

Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film.  It again has a solid cast filling their roles with vibrancy.  The violence and intense action are enhanced by stylish, sleek visuals and excellent editing.  The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look.  Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content.   I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release.  All three did stunning work here that deserves notable credit and praise.  This franchise, outside of the AVP films, has maintained a fairly steady stream of quality.  The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director.  Predator 2 s definitely worth your while.  It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.


Predator (1987)

PredatorI think it goes without me saying that Predator is one of the best action films, ever.  More importantly, this is my favorite Schwarzenegger movie.  Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect.  With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.

Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.

The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us.  No one’s explored in depth, but you get a clear, personality rich snapshot of each man.  Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on.  The entire first act sets up who these guys are, and what they are capable of.  We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes.  They are tactically sound striking hard and fast using the element of surprise.  When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement.  They prove they are the elite, but even then, you can see these guys are spooked by this jungle.  “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling.  Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits.  In fact, it practically heightens them for the more lethal danger that is stalking them.

Schwarzenegger shines here as Dutch.  In addition to everyone else, this is possibly his most quotable movie.  Arnold’s got that charisma going here with energy and authority.  I love that Dutch is a soldier with a code of ethics for his men.  He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception.  Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision.  He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive.  He’s perceptive and level headed, which is undoubtedly the sign of a great soldier.  I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character.  Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.

Bill Duke especially does a touchingly effective job.  Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him.  Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey.  He’s lost sight of the qualities of a soldier and the value of life.  However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc.  Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery.  They all exhibit distinct personality that are vibrant, memorable, and straight up killer.

What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here.  Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it.  Compare it to the personality deprived CGI creatures from Cowboys & Aliens.  They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.”  They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars.  The Predator has nuanced qualities that reflect an intelligence and cunning behavior.  He’s a unique individual amongst a unique race.  How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance.  It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.

As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time.  He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination.  The Predator is an astonishing creation in all facets.  The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming.  Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born.  Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura.  Everything feels so grisly and textured for a greatly realistic feeling.  This is some of the best gore effects I’ve ever seen.

And these visual effects essentially still hold up to this day.  Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated.  This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon.  There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it.  You see it’s not some animated effect, but a real optical composite of a real performer.  These are all excellent visual effects.

This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look.  I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through.  In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage.  The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal.  Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .

Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise.  He incredibly blends a militaristic march and drive with a primal tribal, jungle beat.  He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men.  For the majority of the climax, there is next to no dialogue of any sort.  It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding.  It is perfect, superb work.

The action hits you at a regular clip, and the first main sequence is majorly explosive.  It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge.  It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible.  Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation.  The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey.  He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary

And that entire third act where it’s just down to Dutch and the Predator is a masterpiece.  The strategy and makeshift tactics that Dutch puts together play out brilliantly.  He uses the Predator’s own method of invisibility and striking from a distance to his advantage.  However, it all elevates when the two finally meet face-to-face in a straight physical confrontation.  Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual.  It’s only by his smarts and wits is he able to survive.

Predator is filled with chest pounding action and excitement wrapped in a smart concept and script.  Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success.  This is why I love Predator.  It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start.  It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here.  You also can’t not quote the living hell out of this movie.  It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning.  It’s an absolute success that holds up incredibly well over time.  I entirely intend to give you reviews on both Predator 2 and Predators sooner than later.  Until then, revisit this classic.


Aliens vs. Predator: Requiem (2007)

Paul W.S. Anderson’s Alien vs. Predator was a disastrous, pathetic, and lame piece of garbage.  I won’t even get into it, but after seeing it at the theatre, midnight showing no less, I wanted my money back.  Unfortunately, I got into the showing via a free movie pass from purchasing the Predator Special Edition DVD.  So, I couldn’t even get that satisfaction.  I don’t think I’ve ever held a film in such disdain as to have the desire to demand my money back.  Instead, I wish I had those two hours of my life returned to me.  When things were developing for AVP2, obviously there was a lot of speculation and negative light upon it.  Though, with Anderson nixed, the film seemed to have some hope.  I was very interested in seeing the film theatrically, but then, I heard scores of negative reviews.  It really made me back away from it.  I see now that was a mistake.

This film picks up directly after the conclusion of the previous AVP film.  A Predator-Alien hybrid is born, and begins to wreak havoc on board the Predator space craft.  It soon crash lands in a small Colorado town.  All Predators on board are killed, and the Xenomorphs are set loose on the population.  The crash landing is monitored from the Predator home world (seen for the first time ever on film), and a veteran warrior departs to clean up the mess.  Face huggers attack many of the townspeople, giving rise to further Aliens to ravage the town.  The lone Predator attempts to hunt and eliminate every trace of the Xenomorphs’ presence.  The residents do all they can to defend themselves, but it’s a Catch-22.  Anyone with a gun is immediately a target of the Predator, but without firearms, you stand zero chance against the Aliens.  Eventually, humans, Aliens, and the Predator collide after dark, and all hell breaks loose.  Even help from the National Guard is short-lived, and ultimately, more extreme measures are necessary to eliminate this escalating threat.

Yes, I enjoyed this film (the unrated cut), and kept waiting for something totally bullshit to happen to justify all the god-awful reviews.  It never really came.  There are definite problems with it, but it’s not deserving of being saddled with the statement that “this isn’t even as good as the first Alien vs. Predator.”  I could provide a very long list of how AVP-R is superior to its predecessor, but that’s not the point here.  Though, brief comparisons will be made.  I am not at all saying AVP-R is of the same caliber as Alien or Predator, but at its lowest, it’s no worse than Predator 2.  I’d probably put it a notch higher than Alien 3 (either the theatrical or special edition cut).  But let me get into the meat of things.

My first impression of the film was how excellent the cinematography and lighting was from Director of Photography Daniel Pearl (The Texas Chainsaw Massacre, 1974 & 2003).  There’s a definite cinematic feel to this film with good use of angles, cranes, and camera moves.  The film really pushes to give itself a grander scale and impact with its visuals.  The few shots on the Predator home world are marvelous.  Somewhat reminds me of the scenes on Vulcan in Robert Wise’s ‘Director’s Edition’ of Star Trek: The Motion Picture.  The lighting itself can be intriguing and amazing, at times.  Thin layers of fog and smoke add atmosphere in select scenes.  The best looking visuals are mainly the scenes inside the space crafts, and the daytime sequences.  Problems arise during the far darker scenes in the subterranean tunnels and the rain.  At times, the lighting is so minimal and the framing so tight, it is difficult to follow the action.  As the film goes on, the framing gets better as the creatures are better revealed, but never in full light.  They essentially remain as silhouettes throughout the movie.  This is much more akin to the original Alien – only showing glimpses of the monster.  Still, the majority of the film is very dark, and whenever frenetic action begins, it can be a chore to keep track of it all.  Maybe, a high-def presentation might lessen this problem marginally, but standard-def is my current situation.

One thing that I’m sure would be truly enhanced by a high-definition viewing is the excessive, yet welcomed gore levels.  This absolutely goes back to John McTiernan’s 1987 film that introduced the merciless Predator.  Bloodshed is everywhere, and people are killed indiscriminately.  Only one person survives who you’d swear should be dead, but other than that, people are slain left and right.  The film is very satisfying in that aspect because the filmmakers, aside from the just mentioned situation, don’t go out of their way to keep people alive in the face of certain death.  If it looks like they’re gonna die, they die.  No dodging hits at the last second or anything of the sort.  Children die, pregnant mothers die, old guys get their arms acid burned off.  There’s really no holding back, which can’t be said of its PG-13 predecessor.  The makeup and visual effects are simply astounding.  Some of the gore and creature moments are even down right grotesque and sick.  The opening shot of Earth from space with the sun glaring in the background seems to have such an old school quality to it.  It doesn’t appear to be so much of a digital composition.  It really looks more like similar shots from Predator, Aliens, or even John Carpenter’s The Thing.  There’s just such depth of detail to the shot, and impressive sense of scale that you rarely see nowadays.  I was captivated by this shot.  Subsequent CGI shots are also presented with such a standard.  Nothing ever felt like a digital effects shot.  It all blended smoothly and seamlessly with the live action.  The movement of the Predator or Aliens never seems goofy, awkward, or over the top.  It’s very much in line with the characters’ presentation from the seminal films of each, separate franchise.  CGI versions of them are only used when it is necessary.  Everything else is practical, physical effects.

Speaking of such things, AVP-R presents both alien races with a great deal of respect.  The Predator, this time, is a definite seasoned warrior.  He knows how the hunt is played, and takes on a good dozen Aliens on his own.  The only one that really kicks his ass is the PredAlien.  He’s not some punk rookie Predator in some training ground.  It’s a real situation with him taking it upon himself to clean up this mess, and proves to be exceptionally capable.  Though, this doesn’t mean the Aliens get busted up like a bunch of bitches.  They hold their own, stalking and attacking with intelligence and ferocity.  This is much like James Cameron’s Aliens.  They work as both a cohesive whole and lethal individuals.  They are indeed an infestation that continues to grow out of control, and is never made easy for the Predator.  I really feel the filmmakers treated both sides with great respect.  I love how we see the Predator work, even before he even begins the hunt.  How he gathers his gear, and investigates the crash site.  The film treats him like a proper character with a keen mind and cleverness, not a one-dimensional ugly beast rampaging through scenes.  Just the level of intelligence both alien races are given says so much.  Just as the Aliens set traps for others, the Predator shows he’s able to do the same.  It’s a very pleasant surprise.

Now, I found the music to be appropriate to the film.  I wouldn’t say it is exceptionally memorable, but it served the purposes of the movie.  It is jarring, tense, and explosive.  Thought did go into it, and you’ll notice the end credits theme is a mixture of the original Alan Silvestri Predator theme and the James Horner Aliens theme.  It is titled ‘Requiem.’  I felt there was a good level of suspense in the film.  Not a great deal, but in certain scenes, there is build up and tension towards a pay-off.  I think the subterranean sequence is probably the best and most cleverly crafted one in the whole film.  The fight choreography is inventive and imaginative.  The staging of the cat-and-mouse hunting / stalking scenes are continually creative.  It’s far more of what I would’ve wanted from the first film, and it is as an Aliens vs. Predator film should be.  It’s quite fascinating as they are both the hunter and the hunted at the same time.  Kill or be killed, it seems.

The acting certainly comes up as a negative on the reviews I’ve scanned over.  Not every film can have the caliber of acting of a Scorcese or Coppola film.  Like Francis Ford Coppola version of Dracula, sometimes you get Gary Oldman, and sometimes you get Keanu Reeves.  The acting here falls within that deep gap.  Essentially, it is solid enough to serve the purposes of the film, and I never felt that it turned ridiculous or annoying.  You, honestly, don’t need Robert De Niro or Marlon Brando quality acting in an Aliens vs. Predator film.  That’s not me discounting the wonderful performances we’ve had in the Alien & Predator films, but what are you really expecting from this film?  The content and context of the film do not call for such glorious depth of acting ability.  This is not to say that the acting here is crap.  This is far above standards of something like Jason X or Freddy’s Dead.  Those films feature a cringable lack of acting talent.  What you get here is good, and allows you to enjoy the meat of the film.  I didn’t feel like the film was dragged down by any of these characters, or their own, individual stories before the action begins.  It helps the pace of the film to build up slowly as all elements begin to converge.  I know Steven Pasquale from the cable television series Rescue Me, and John Ortiz I’m familiar with from the 2006 Miami Vice feature film.  Both present characters with identifiable, relatable, and likable traits.  They certainly show range to me, knowing those other roles they inhabited, and I found them to be worthwhile characters to spend my time with.  These characters are quite human, but have a good deal more depth than your standard slasher film fodder.  The filmmakers and screenwriters seemed to treat these new characters with respect.  They easily could’ve gone with the fodder that Anderson’s AVP film offered, but chose to spend some decent time to develop their personalities on-screen.

The film’s ending needs to be addressed, and is certainly a borderline turn.  It could either keep you hooked or lose you completely.  The filmmakers could’ve really botched it up if they had everyone taken out, but there are survivors.  So, that eases the tension.  Still, there are elements that could be called cheesy or stupid.  I, personally, don’t agree with that.  You have to remember that while these are sequels to the Predator films, they are prequels to the Alien films.  Events need to fall in line with that continuity to preserve certain knowledge of the Xenomorphs amongst humanity.  Government cover-ups are necessary to serve that purpose, and the extra tag at the end was nice, if not somewhat predictable.  Where in AVP, you met Weyland, this time, you meet Yutani – whose two corporations eventually form the infamous ‘Company’ from the Alien franchise.  As I said, things of this nature could potentially lose an audience who perceive it as fanboy bullshit.  They need to realize that this film was made because of fanboys (as much as I hate the term).  Without them, these films would’ve died out a very long time ago.  The ending might not be the most universally satisfying, but it is a logical and appropriate one.  I could go further into depth about it, but suffice it to say, it helps to avoid continuity conflicts with the Alien films.

Colin & Greg Strause made a conscious effort to stay true to both franchises, and make this a real tribute to the fans.  I think they succeed, to a point.  It is a gorgeous film at times, and also a very grotesque feature, as well.  It’s simply more technical elements of lighting, composition, and editing in certain scenes that lessen the effectiveness of those scenes.  The film is terribly dark, visually, and the addition of a rain storm can complicate matters.  It would’ve helped to cast some extra light on the battling alien beings to better distinguish them from each other.  Still, at the most pivotal and impactful moments, the filmmakers allow for the shots to play out more dramatically.  They hold on the shots longer, and the action therein is better defined.  Beyond those shaky aspects, I feel this is a far superior film to 2004’s AVP.  Everything is handled with a great deal more respect and weight.  No ‘buddy cop’ Predator sidekick moments, no rookie Predators getting their butts kicked, and no skimping on the gore.  While this doesn’t equal the caliber of Alien or Predator, it doesn’t fall very far below those standards.  A classic this won’t be, but I feel it’s a worthy addition to your DVD or Blu Ray library.