Booty Review – IGN

Prey will stream exclusively on Hulu on August 5, 2022.

Following the mediocre success of 2018’s The Predator, director Dan Trachtenberg (10 Cloverfield Lane, Portal: No Escape) takes the franchise back to its roots in Prey… Everyone The way back to basics. Over 250 years before Dutch’s first encounter with this ugly son of ab!t¢#, Prey finds the Predator (Dane DiLiegro) landing in the middle of the Comanche Nation for a blood-soaked trophy hunt. It’s an intriguing constellation of taking a villain whose initial appearance was defined by how easily he shredded a pack of meatheads armed to the teeth with guns and explosives and transporting him to a time his targets don’t even have this Tools you can rely on. But you would be wrong if you underestimated the Comanche’s chances. Prey follows the tribe’s fight for survival through a fast-paced, unforgiving rift across the Great Plains while both honoring the franchise’s roots and serving as the perfect entry point for newcomers wanting to see what all this entails, laser led goodness is approximate.

At the heart of the Comanche’s conflict with the Predator is Naru (Amber Midthunder), a young girl who is taunted by her family and peers for not being satisfied with reaping crops for the rest of her life. Like her Warchief father, she is a fighter at heart and determined to complete the initiation rite of Comanche hunters: to hunt something that hunts her. But not even her brother Taabe (Dakota Beavers), who leads the Comanche hunters, thinks that’s possible. It gnaws at Naru throughout the film—even more so as those around her continue to overlook her apparent abilities—and it’s that frustration that drives Amber Midthunder’s view of the character. Naru’s struggle to be taken seriously as a warrior by her tribe is a strong line, and that’s a good thing because her struggle is the only one the script focuses on for long. Previous Predator films have gleaned great footage from the interplay between characters pitted against the alien hunter, and Prey’s decision to focus on Naru and exclude all others means the supporting characters are a bit thinly drawn.

At the beginning of Naru’s story, Trachtenberg weaves in scenes of the Predator working its way up the food chain, which serve a dual function: demonstrating its strength and technological advantage while building suspense leading up to its first face-to-face encounter. Encounter with the would-be Comanche warrior. Through these episodes, the film also begins to differentiate between Naru and the Predator’s hunting style, with the Predator’s over-reliance on his technology providing the first clues as to how he might be defeated. In comparison, Trachtenberg struggles to highlight Naru’s secret weapon: critical thinking. Whether it’s a scuffle with the boys of her tribe or hiding from the Predator as it makes its way across the prairie, Naru always listens and perceives, always using a loss or setback as an opportunity to learn. It’s a crucial and well-communicated aspect of a character that, given the significant disadvantage she faces in one-on-one combat, makes it clear that Naru is the only person capable of stopping the Predator’s rampage. Prey places a lot of emphasis on Naru, with her at the heart of almost every scene, and Midthunder more than keeps up with the frenetic pace of the action as she’s constantly undermined and underestimated, making her victories all the more impactful. Dry, determined, and capable at the same time, Midthunder’s Naru is a terrific addition to the canon of sci-fi heroes, and that ax on a rope she’s slinging around Scorpion-style will be the bane of convention security checks for years to come.

Prey doesn’t have an ounce of fat as each piece builds on what came before.

If you were concerned that Prey would take place 268 years before the original it would mean more rudimentary equipment for the Predator, you’ll be happy to know that Trachtenberg finds room for most of his signature weapons between the rib cages of those unlucky have to get her his way. And the Predator’s rampage across the Comanche Nation looks incredible: the film was mostly shot on location in British Columbia, and Trachtenberg uses that sprawling terrain to make Naru and the Comanche feel alongside the towering alien chasing them to be even more insignificant. The Predator isn’t the only enemy Naru faces, as a second group of invaders collapses midway, giving way to an extended and utterly vicious confrontation between all three parties.

Prey’s approach to the Predator’s attacks alternates between fast-paced, tense encounters, which Trachtenberg covers well (there’s a particularly nice one-take fight scene to watch out for), and long, drawn-out games of cat-and-mouse, chess in the Trees where the Predator yells “Checkmate” by breaking people like twigs. Prey carefully executes these different approaches, and even if the storyline feels like it’s on autopilot, Naru’s encounters with her enemies feel dangerous and unpredictable. Trachtenberg wisely relocates the bloodiest and most brutal kills of the Predator away from the Comanche and across to the story’s other enemies, who wield more “modern” weaponry. The Predator’s advantage is considerable, and with Prey serving as a rare, high-profile genre platform for Native American culture, it might have been an overstatement to revel in the death of the comparatively ill-equipped Comanche. Though the Predator spares no one, Trachtenberg films their downfall with a common sense, making sure their deaths are a tad more dignified than the rest of the characters.

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