The essence of “The Predator” is edified within the sense of its relevance to pop culture tendencies versus creating a sense of fear and elation. While this inclination does improve and rank itself as the best in the past decades, it still pales to the original “Predator” and, in some senses, “Predator II”. The one aspect that definitely gives it the best structure since the original is the poppy dialogue which is obviously a Shane Black trademark. The irony is that those quips that were great in the 80s almost ride the line too much today causing readings at times to be more awkward than funny. In a way, this outing becomes more of a sardonic reflection of itself. The characters are big and the misfit dream team led by Boyd Holbrook does have its moments but there is never a sense of stake at all. There is some loss with some of the members but nothing as edgy as Carl Weathers or Bill Duke in the original.
Writer/Director Shane Black was in the original so he understands that texture of balance but John McTiernan had a sense of the real within the gallows. “The Hunt For Red October” ran in a similar vibe. This is not those films. The tone here is all over the place with certain moments playing better than others. Sequences like the initial one inside a medical lab or a face off on top of an RV have a playful sense to them but feel, almost in effect, like a TV movie version of “Predator” with the profanity setting turned on. In all shapes and sizes despite respect for trying to give a new audience a “Predator” for its time, this outing, while definitely fun at times, still feels remarkably flat. Even the resolution requires a plot suspension that doesn’t connect. While ending up creating a concept in essence that gives the story an interesting dilemma to behold for a continuation yet no reason for its actual intention, “The Predator”, despite its best attempt, does not fit the bill.
By Tim Wassberg