Prey is the predator movie we’ve been waiting decades for
Prey (13+, 100 mins) Directed by Dan Trachtenberg Reviewed by James Croot ★★★★
‘If it bleeds, we can kill it.’’ Thirty-five years after Arnold Schwarzenegger’s cigar-chomping mercenary Dutch Schaefer uttered that immortal line, it’s back in a prequel that’s also the first follow-up truly worthy of being mentioned in the same breath as the original cult sci-fi actioner.
Aside from the truly awful pair of Alien crossover movies, there have been three failed attempts to try to recapture the lightning-inthe-bottle that was John McTiernan’s extra-terrestrial rumble in jungle.
The Danny Glover-starring 1990 sequel’s gloomy aesthetic and overstuffed screenplay detracted from the intrigue of its urban setting.
Predators in 2010 tried to recreate McTiernan’s hostile environment and misplaced machismo on an alien planet with a group of thespians (Adrien Brody? Topher Grace?) rather than action heroes, and one of the original supporting actors, Shane Black, misjudged changing audience tastes with soulless storytelling and glib quips that overwhelmed 2018’s The Predator.
In contrast, Dan Trachtenberg (whose only previous feature was 2016’s brilliantly conceived and executed claustrophobic thriller – and surprise sequel – 10 Cloverfield Lane) and writer Patrick Aison take us back to the wilderness – and the 18th century – for what is best described as Apocalyptomeets-The Revenant by way of Alien: Covenant.
A skilled tracker and healer, young Comanche Naru (Amber Midthunder) is also deadly with an axe. To her immense frustration though, only her brother Taabe (Dakota Beavers) takes her seriously and even he doesn’t think she’s ready for the tribal rite of Kuhtaamia. ‘‘Why do you want to hunt something that’s hunting you?’’ he queries.
‘‘Because you all think I can’t,’’ she retorts. So when a marauding lion takes off with one of their tribe, Taabe persuades the other young men they need Naru – and not just for her cooking. They are relieved to find their colleague only injured but Naru is uneasy. Something else has clearly scared the cat away from its den.
Trepidation turns to outright fear when they discover a skinned snake and large footprint that, despite Taabe’s insistence, Naru is convinced is not ursine. ‘‘That is a big bear – and why is it on its hinds legs?’’
A taut thrill-ride follows that quickly ramps up after a slowburning opening stanza (it takes half an hour for the trademark heat-signature point-of-view shot to first rear its head) into a riproaring stalk and fight that satisfies and cleverly subverts expectations.
Prey’s only real disappointment is that it has bypassed cinemas altogether. This is perfect Friday or Saturday night crowd-pleasing, popcorn-enhanced viewing, whether you’re new to the franchise, or can quote great tracts of the original’s pulpy dialogue (‘‘I ain’t got time to bleed’’ or ‘‘My, you’re one ugly…’’).
Aside from one of the most frightening bear attacks since Leonardo DiCaprio’s grizzly Revenant encounter and a scene that will bring back certain traumatic Never Ending memories for a particular generation, Prey’s real strength is the performance of Midthunder.
She was the best thing in last year’s lamentable Liam Neeson trucker drama The Ice Road and is a commanding presence here in her attempts to outthink, outwit and outlast her dreadlocked otherworldly opponent – despite its clear advantage in weaponry.
Not everything about
Prey works.
The allegories about who the real monsters are is a little heavyhanded, as is the constant refrain that the creature doesn’t consider her a threat.
Fortunately, that doesn’t detract too much from the visceral and visually arresting action, which should keep you engrossed and on the edge of your seat.
Prey is now available to stream on Disney+.