Film Review: Predator: Badlands
- Very Average Joe
- 6 hours ago
- 5 min read
Title: Predator: Badlands
Director(s): Dan Trachtenberg
Screenwriter(s): Patrick Aison
Studio: Lawrence Gordon, Davis Entertainment, Toberoff Entertainment
Released: 2025
Runtime: 1h 47m
Starring: Elle Fanning, Dimitrius Schuster-Koloamatangi
Predator: Badlands is a standalone story set at a time when Weyland-Yutani sending their synths into space with MU/TH/UR (“Mother”) as their OS is the norm. The film Alien (1979) is set in 2122, and this film is presumably later than that judging by the aesthetics of the designs.
The film opens to the Yautja homeworld in which a young Yautja predator, Dek, wishes to go through his rite of passage. He is considered a runt and too weak by his father and, having a chip on his shoulder, he decides to go for the Kalisk, an apex predator on Genna. Basically, it is supposed to be the most difficult creature on the most difficult planet.
However, his father wishes to have Dek “culled” and Dek’s older brother Kwei refuses to execute Dek, instead sending him away. Kwei actually makes a case to allow Dek to go do his hunt; after all, if he is weak, then he will fail anyway but at least he will die with honor. Of course, dads can be stubborn and we need conflict, so he insists.
Dek seems to assume that if he succeeds, he may still return and be accepted. Apart from this point, the premise is simple and clear enough. The plot follows Dek as he arrives on Genna and tries to get the Kalisk trophy.
Of course, nothing is easy. The planet has many hazards and Dek soon meets a damaged Weyland-Yutani synth named Thia. She makes a deal with Dek: she tells him where to find the Kalisk and he helps her get repaired and find her “sister” synth Tessa.
The themes of family and loyalty are apparent, albeit somewhat crudely expressed. The Yautja is a clan and there is family but they hunt alone. It is unclear where the line is drawn between operating alone and still be part of the clan. Dek and Thia are in essence outcasts and forced to rely on each other. The narrative emphasizes the distinction between the tribe one is born into and that which one willingly forms.
The narrative is like an adventure film with a little bit of a gauntlet run initially. By conveniently setting it on Genna, one has the excuse to make up just about any dangerous plant or animal. Whilst this comes across as too random initially, at least the plot tries to make good use of these hazards later.
Like many American films, it follows the structure of Greek myths. The hero is initially reluctant in some respects but Dek has the motivation and goes on his journey with Thia. Eventually, as part of the hero’s journey and a homage to Dutch in the original Predator (1987) that obviously follows the same structure, Dek also falls into the water (“going to the underworld”) and comes out with what he needs for the final act. Not particularly original but it works well enough.
One of the glaring problems is that although Dek is set up as a capable Predator, he is conveniently not more careful at times for the sake of drama. If Genna is so hazardous, then whatever dangerous stuff is around is going to happen anyway. Dek has skill so that it is plausible he survives, so let him be skillful in the face of danger. On a related note, it is surprising that he does not try to use or at least check out the trees earlier; that is what Predators do.
Another problem is that the film tries too hard with the various weapons. Granted, Predators generally have variety and every clan is different, but there should be some consistency in practical considerations; for example, a balance between ranged and CQB weapons and how they work. In Badlands, there is this unnecessary fixation on red energy in just about everything, including a nonsensical bow. Thankfully, Dek doesn’t get to use all of the arsenal. Either way, this is a Predator, not Kylo Ren.
The third glaring problem, and this impacts the plotting directly, is the unclear connection between MU/TH/UR and synths. It seems to have a remote connection to the synths, which means there is no reason for it to be unable to control every synth and thereby mitigate problems. Instead, it conveniently cannot override or control them but knows some things about them sometimes; how MU/TH/UR operates needs to be consistent and not change just because the plot requires it.
For Badlands, all that is needed is that the planet’s magnetic fields interrupt remote connections or the mission is set that way because synths operate better independently in some situations. Whether MU/TH/UR should have a stronger presence as a malevolent force in this film is arguable, it could use that extra layer of drama.
Visually, it mostly looks good enough. Generally, the environment, natural or artificial, is nicely rendered, as are Dek’s facial expressions. The other creatures are not bad; one can tell they are CG but they are not jarring.
It is appreciated that many shots are held longer and try to follow the action, but there are quick cuts that are too quick, thereby sacrificing clarity. On balance, the film editing is seamless enough.
Perhaps one criticism is the lack of visual stylization. Predators see in infrared and usually rely on their helmet for filtering and enhancement. It does not seem to be an absolute necessity but it no doubt helps depending on the type and intensity of radiation flooding the environment. Dek seems to do fine on Genna so it is reasonable to assume the level of infrared on the planet suits Predators. The lighting and color saturation can be altered subtly to convey that, just to give the human audience a sense that Genna is different from Earth.
The score composed by Sarah Schachner and Benjamin Wallfisch is not bad. It is functional and fits the action-adventure. Whilst it lacks the memorable theme by Alan Silvestri in the original film—very little can compete with that anyway—nothing in this film draws too much attention to itself, which is not a bad thing.
Whilst there is nothing spectacular, it is surprisingly an entertaining film that takes a different approach to the franchise if one can accept some of the silliness. The audience is exposed to a little Yautja culture, and although there is for the first time a substantial amount of the spoken language, it unfortunately does not build on (and clarify) the written language and rituals seen in the previous films. There are a few shots and allusions to the Alien and Predator franchises but they mostly avoid being tacky fan service.
None of the characters are human but there is enough to make them relatable: two rejected/damaged individuals who become buddies in order to survive. It does not try to be suspenseful, nor should it, given the amount of Predator works. It is in many ways a straightforward action-adventure; there is enough action and the pacing is well-managed.
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