.png)
'Predator: Badlands' Finds Humanity in the Ultimate Apex Predator
- Avi Wiseman
- Nov 10
- 3 min read
Dan Trachtenberg's Predator: Badlands is not just another entry into the venerable sci-fi action franchise; it is a profound act of cinematic revolution.
Fresh off a spectacular pre-premiere screening, we can confirm that Trachtenberg has done the unthinkable: he has taken the universe's most vicious, amoral hunter and dared to ask, "What if he had a soul?" The result is a film that is as aesthetically daring as it is emotionally complex.
The most jarring, yet brilliant, pivot comes in the characterization of the Predator itself. While the classic villain always relied on the terror of the mask, Badlands strips this away, showing the creature's most vulnerable feature-its bare face-for extended sequences. We learn that this specific entity, given the name Yautja (a name that carries a slightly unfamiliar, almost Japanese-like resonance), is unlike any we have encountered. Its famous Rasta-like hair is replaced with an unfamiliar rubbery texture, and its speech clicks are rooted in a fascination with Earth's own complex linguistics, seemingly inspired by Khoisan languages like Xhosa or Zulu.
This new Yautja is placed on an extensive personal journey, moving from primal hunter to an entity capable of growth and sensitivity. He acquires new social skills, primarily the concept of symbiosis-the "give and take" of trading-a remarkable moral evolution that fundamentally redefines the species. The sheer level of CGI and characterization dedicated to his eyes is a triumph, achieving a new level of "alienating" texture, far beyond typical creature design.
A Score of Ambiguity
The film’s emotional depth is beautifully amplified by the musical partnership of Sarah Schachner and Benjamin Wallfisch. Wallfisch provides the necessary blockbuster scale, but it is Schachner's influence that truly elevates the score. Her choice of dystopian vocal synth effects is immediately recognizable, drawing parallels to her iconic work on the Anthem video game score. This specific sound design brings a layer of necessary ambiguity to the unfolding narrative, crafting a sonic landscape that mirrors the Yautja’s confusing, internal shift.
While the new Predator design is revolutionary, Trachtenberg smartly keeps touchstones of familiarity. The iconic three-dotted triangle laser beam remains a chilling signature weapon. Furthermore, the Creator that the Yautja is hunting introduces stunning new CGI capabilities, particularly in a visually impressive healing process that pushes the boundaries of cinematic body horror and restoration.
However, the scout location choices occasionally undersell the film’s ambition. In a world striving for complete "alienation," the repeated inclusion of a familiar waterfall and standard gravitational water physics feels curiously conventional. It's a small compromise, perhaps made by the director to prevent the audience from drifting too far from familiar territory, but it misses a chance for total immersion in the new world.
Fanning’s Masterclass
The explicit guidance and preparation given to the human cast is clear in the finished product. Elle Fanning delivers a performance of profound versatility. Her ability to accommodate rapidly shifting situations while traversing the full emotional spectrum of the audience is a masterclass in delicate, balanced character work. She seamlessly pivots between two dichotomic characters, proving herself not just an actress, but an artist applying precise paint and brushstrokes to the film’s canvas.
In conclusion, Predator: Badlands is a great film that serves as a thrilling action movie and a surprisingly poignant character study. It’s highly recommended viewing that demands to be seen on the biggest screen possible.