After five more or less successful films about the famous alien predators, Shane brings Black with him PREDATOR – UPGRADE breathes a breath of fresh air into the sci-fi horror series and stages a film that feels like it was straight out of the 80s. We reveal more about this in our review.
The Plot Summary
From the far corners of the universe, the dangerous predators will one day reach the sleepy streets of the American suburbs. Only now that the universe’s most dangerous hunters have been genetically upgraded with DNA from other species, they are even stronger, smarter and deadlier than ever before. When the little boy Rory (Jacob Tremblay) accidentally enables their return to Earth, a ragtag group of disgraced ex-soldiers and a bad-tempered science teacher become the only hope of preventing the end of humanity if they can because they manage to put their huge egos aside and fight together against the same enemy.
Movie explanation of the ending
On paper, “Predator – Upgrade” is one of those films that it’s not surprising if fans of the predator franchise label it a disaster early on. Shane Black, who primarily specializes in cool buddy comedies (“The Nice Guys”) Entrusting you with a sequel to a film series that became so popular primarily because of its darkness (sometimes in the truest sense of the word, keyword: “Alien vs. Predator 2”) points to the contemporary softening policy of modern blockbusters. In addition, there were a lot of reshoots, which subsequently resulted in entire characters and storylines being lost. And let’s be honest: Has anyone asked for a “Predator” sequel after the sequel to the related “Alien” saga was recently completely ruined? The initial trailers all seemed to confirm these fears. But in retrospect, all of these indications of a cinematic catastrophe disappear into thin air. Nobody knows the franchise better than Shane Black, who was hired as an actor for the first part primarily because it was hoped that the author, who was already considered a gifted author at the time, would also be able to fine-tune the script. His understanding of humor also fits perfectly with the filmmaker’s sometimes almost outdated “I do what I want!” attitude and, in contrast to Ridley Scott, Black is not interested in adapting the series to the current viewing habits of the audience, but does exactly the opposite , delivering a film that could just as easily have come from the archives of long-lost 80s actioners.
The crew of disgraced soldiers must face the Predator alone.
When you look at today’s blockbusters, you increasingly come across the idea that the makers of these films are following some sort of unspoken agenda. Some of these points make sense: gender equality, for example, or maintaining a level of political correctness that prevents tasteless jokes about fringe groups and the like that a few years ago were still considered completely natural. It is absolutely important to take such aspects into account, but the more tense filmmakers look at them, the more their films lose their lightness. This also applies to factors such as the effort towards a PG-13 rating, a balanced mix of action and cool sayings or the creation of sidekicks suitable for merchandise; All of these (and many more) pieces of the puzzle form a successful formula that works, but has also been wearing out for a long time. In the eighties and nineties, however, this did not yet exist. Box office magnets that later became cult, such as the “Indiana Jones” films, “Star Wars,” “Alien” and “Predator,” became so successful primarily because the filmmakers in question created their productions almost exclusively as they saw fit and at their own discretion . True to the motto: What I enjoy will surely be fun for others too! And that’s where Shane Black comes into play.
For “Predator – Upgrade,” Black naturally uses seemingly hackneyed motifs that other filmmakers of today would no longer resort to for fear of alienating their audience. With an unmistakable macho attitude, he lets blood and guts splatter and also relies on so much uninhibited kitsch and pathos in the crucial moments (there’s a reason why children always had to play a crucial role in blockbusters – after all Rory here is one of the smart kind) that hardly anyone would take this film seriously if those responsible presented it with a meta mentality à la “Deadpool”. That would seem fake. Shane Black, on the other hand, celebrates the Eighties verve with pleasant seriousness by not trying to look towards the calculated scandal (anyone who understands “Predator – Upgrade” in its concept, for example, would never think of accusing him of this only one woman plays a leading role in the perfectly distributing Olivia Munn), but simply frees herself from all the restrictive blockbuster restrictions that we already listed at the beginning of this text. As a result, many of the long-worn things you see here finally seem fresh and imaginative again, whereas other screenwriters would vehemently slap them over the head. When, for example, one of the soldiers first asks the Predator’s name, only to shoot him in the face shortly afterwards, “Predator – Upgrade” has that fresh charm that appeared in the early “Rambo” films, for example.
When the Predator attacks, things get bloody!
This feeling of nostalgia is further reinforced by the presentation of the action scenes. The Predators are brought to life with as little CGI as possible, but explosions and the tough fights between humans and monsters also ensure that the cinema is really buzzing. The action scenes here and there could be cut a little more calmly and in the last third, those viewers who don’t mind the random stabbing and shooting at each other will get their money’s worth (even if Black does it with a few smart ones again and again). knows how to accentuate individual scenes), but on the whole Black picks up on the charm of the original films here too. He has to, because the visual appearance of the brutal hunters is revealed in the first ten minutes and otherwise the titular monsters seem a lot more interchangeable this time than their definitely characterizable predecessors. Authors Shane Black and Fred Dekker are committed to this (“Star Trek: Enterprise”) does a lot to compensate for the sometimes prevailing interchangeability of the antagonists with protagonists that are as eccentric as possible. The first hour is full of a lot of wordplay (some of which even refers to the previous films), which mainly results from the completely opposite drawing of the soldier crew. You first have to get used to the matter-of-factness with which macho sayings and crude gags are presented here. At the same time, Black’s piety never slips away. Here everything is just as rough as it was in the eighties, but the filmmaker never thinks of firing off any tasteless punch lines. And this is exactly where “Predator – Upgrade” hits the mark!
Conclusion: “Predator – Upgrade” looks like a film that was made at a time when blockbusters didn’t have to follow a successful formula. Despite a bit of a lot of shooting in the third act, that’s great fun!
“Predator – Upgrade” can be seen in USA cinemas nationwide from September 13th – also in good 3D!