PREY REVIEW MOVIE

Overall, it's almost like this movie exists to waste people's time.

The final scene was just as random and gave more questions than answers. Second, and the most important of all, the reason that they got hunted was bafflingly unjustified that just pissed me off at the end. They all fell into certain types of characters. These flashbacks served almost no purpose and didn't change my perceptions on these characters much. First, there's flashbacks throughout the movie about the main guy. And this is where the movie became just straight up stupid and nonsensical. However, I still want to see the justification for all of this. There were some scenes that worked, but for a lot of it I was bored because of how dragged the pacing was. The suspense relied on the mystery of the hunter, who was deadly and familiar with the territory. Most of the runtime was these guys running in the woods. The premise is simple: 5 guys on a trip in the jungle got hunted down by a mysterious hunter. Little White Lies is committed to championing great movies and the talented people who make them.īy becoming a member you can support our independent journalism and receive exclusive essays, prints, monthly film recommendations and more.A new German survival thriller on Netflix. There’s no psychological element, it’s not about anything and, despite Midthunder’s appealing central turn, there’s precious little to lodge in the memory after credits have rolled. And still, this is a shallow film that offers little more than superficial pleasures. The film plays through the scenario with plenty of moment-by-moment gusto, and there’s a lack of flab to it that makes it rather appealing when placed next to so many action blockbusters (many of the interim Predator franchise entries included) that just feel the need to ramp things up to a silly degree. Yet, her moxie and ingenuity provide Preddy-boy with his only real physical match, and their final stand-off arrives after much subsidiary bloodletting, all of which is fairly routine. Our hero is Amber Midthunder Naru, with her warpaint, hatchet-on-a-rope and trusty mutt, desperate to be accepted among the male hunter-gatherers of the tribe, but prone to muffing it at the crucial moment. It’s an open playing field and, as with John McTiernan’s 1988 original, the film makes a fine fist of channelling the eerie claustrophobia that comes when wandering the great outdoors.

For such a scaled-back and rustic production, it works on a visual level, even if there’s little more to the landscape than sad looking trees and vast stretches of blue-grey scrubland. So Prey has the franchise affiliation, and it also works as a tidy stand-alone project – the only backstory you need to know is that the Predator wants nothing more than to murder you. It’s also a spin-off from the Predator movie franchise, imagining a scenario in which the intergalactic dreadlocked limb-lopper sidle up to Earth for a little chop-chop action in the early 18th century, right when the native Comanche population are on the cusp of being decimated by colonial oppressors from Europe. Meet Dan Trachtenberg’s Prey, which offers up an intriguing case study in that its modest scope and story aims make it come across as one of those movies that, in days of yore, you’d watch as a bit of fluffy filler in advance of the main event. Yet at the same time, there’s also a sense of “welcome to the wasteland” for those films that have been deemed unworthy of even a small cinema run-out. Now, with streaming a culturally dominant force, the justification has been found to pony up for those smaller, more personal projects. There’s a school of thought that believes Hollywood’s modern predilection for always chasing the big money has been at the expense of tight little genre b-movies or mid-budget, adult-oriented fare.

A lean monster-slasher B-movie set in the Predator universe that’s a highlight of an extremely patchy franchise.

Prey review