THE PREDATOR Review

I was born in 1987 or the same year the original Predator was released. One might think this means something more or that it's led to some long-standing connection I feel with that John McTiernan movie, but it doesn't and hasn't. I say this more to point out I was too far behind to now have any nostalgic or appropriated affection for that movie. In fact, I've only seen Predator once before in preparation for the 2010 re-boot, Predators, and while the Arnold Schwarzenegger flick certainly makes for an enjoyable enough action movie it certainly didn't hit me the same way in 2010 as it likely did those who were in their late-teens to early-twenties in 1987. For me, it was fine, goofy fun and very much a product of the time in which it was made. And while 2018's The Predator will rank miles below that original for those who adore it and place it on this pedestal of action perfection, which I admittedly can't dispute given the credentials of my birth, The Predator is also perfectly okay. There is a lot going on and it wants to do more than its hour and forty-seven minute runtime dares to contain, but at the heart of the issues with the film is the fact the movie itself doesn't seem to know what its heart really wants. Does this mean there is nothing beating within the core of this movie? Does it mean there's no pulse? Not necessarily. There is so much going on that it kind of creates the illusion of this pounding sense of energy and tension, but energy doesn't always equal an understanding or coherence. There are numerous players playing different games, following several different arcs, but none of them thread together to form a satisfying whole despite countless efforts to present a facade that it does in fact do so. The Predator puts on that it knows what it is, but taking in the execution presented it seems the movie only has ideas of what it wants to be. Writer/director Shane Black knows he wants to make a bloody, irreverent, and fun action movie but for one reason or another everything Black throws at the audience feels like both disparate and sometimes desperate attempts to play to what the masses want never landing a single of the many things as well as he's proven he could have.

First Trailer for THE PREDATOR

I was never a huge fan of Predator, but most of this lack of affection derived from the fact I was born to late to really enjoy the testosterone-soaked brutal action movie it was during the heyday of testosterone-soaked brutal action movies. I did eventually go back and re-visit both the original and that 1990 sequel before seeing 2010's Predators though (which I remember liking more than I expected). That being said, I never bothered with any of the AVP titles given they came out in '04 and 07' which was before I had any interest in either franchise. Personal history aside, this latest attempt to re-boot the Predator franchise comes from writer/director Shane Black (Iron Man 3, Kiss Kiss Bang Bang) who starred in the original 1987 Arnold Schwarzenegger-vehicle before going on to write massive hits like Lethal Weapon and Last Action Hero before and eventually moving into directing his own films. 20th Century Fox is clearly hoping that the hiring of Black contributes to the nostalgia factor it is also counting on to pull fans back in for a new film in a franchise that is now thirty-plus years old. And while having never personally been a huge fan of these movies it's not hard to understand the appeal and I look forward to seeing what a unique voice like Black brings to this kind of movie. Black's last film, 2016's The Nice Guys, was a fantastic little slice of a seventies buddy action/comedy, but it only made $62.7 million worldwide on a $50 million budget despite starring "names" like Ryan Gosling and Russell Crowe. The Nice Guys is the kind of movie that would have flourished in the nineties when the movie star on the poster was everything, but in a world dominated by IP's and familiar brands it makes sense the studio would have Black return to his roots and try his hand at something proven that could use a little bit of fresh inspiration. As far as the trailer goes, this looks like what one would expect as far as a summer sci-fi movie goes, but I expect the film itself to be a lot less typical than what this first piece of promotional material suggests as the Predator films have a history of being rated-R and filled with a little more blood and guts than your standard PG-13 summer blockbuster. The Predator stars Jacob Tremblay, Boyd Holbrook, Trevante Rhodes, Keegan-Michael Key, Olivia Munn, Sterling K. Brown, Alfie Allen, Thomas Jane, Augusto Aguilera, Jake Busey, Yvonne Strahovski, and opens on September 14th, 2018.

I, FRANKENSTEIN Review

There is little to say about a film or anything really when it feels the "artists" behind it didn't care enough to invest their own interests in it. There is little vision to be held with something like I, Frankenstein as it is nothing more than a typical January release, an ugly step-sister to the summer blockbusters that have equally silly stories or premises, but real vision and money behind them. With something like I, Frankenstein what we have is the writer of such blockbusters as Pirates of the Caribbean: The Curse of the Black Pearl and the first G.I. Joe, but who also has more credible fare like Australia (c'mon you know you liked it) and Collateral to his name and has now apparently earned the right to direct his own feature and so Lakeshore Entertainment, for some unknown reason, entrusted him with a rather large budget and gave him free reign to pen a script that concerned Victor Frankenstein's monster living on into the modern world and being caught in the middle of a war that has been raging between demons and gargoyles. Sound ridiculous? It is. Its essentially another attempt to capitalize on bringing well known, well respected properties back to the big screen in more gritty fashion. It seems Stuart Beattie, the aforementioned writer turned director, decided he'd go just outside the realm of fairy tales and instead chose to pick from the iconic roster of horror figures and give them an all CGI environment with dark and brooding attitudes that would be fine if this were a substantial take on the gothic romanticism of Mary Shelley's source material, but instead it seems to want to achieve little more than box office success and disregards any sense of deeper storytelling in order to fit squarely into this pre-ordained January genre. It is an ugly genre, one where we get movies year in and year out like any one of the Underworld films (which this so proudly touts as being produced by the same people) or last years Hansel & Gretel: Witch Hunters or even Season of the Witch from two years ago (see a trend?). It is one of those films, set in a period where set designs call for grotesque statues and worn out castles, where CGI baddies look ridiculous and we forget about character and story the moment we walk out of the theater. You'd think, given Beattie's track record in writing he would jump at the chance to make his own film and be keen on leaving a good impression so as to earn another turn behind the camera, but if I, Frankenstein is any indication he should never be allowed to direct or pen a script again.

First Trailer for I, FRANKENSTEIN

How movies like I, Frankenstein continue to get made is something that baffles me. They all have this cheap fantasy element to them and none of it comes off as particularly original, but rather and mixed bag of references to better, more established material and archetypes taken from other genres of film and applied to these age old stories and myths that hopefully turn out to be something truly original, yet the majority of the time are nothing more than half-baked ideas set into typical action film beats where our hero must save the world from some unknown threat he helped create or unleashed from his realm, world, galaxy, story...you get the picture. A movie like this is below Aaron Eckhart who, after The Dark Knight, I believed would have a prolific career that would produce several good films and performances, but his mix of direct-to-video movies combined with big action fare that has been more or less forgettable has made him that exact thing. This kind of role and film seems destined for the $5 bin at Wal-Mart and along the lines of every Underworld, Resident Evil, or Priest and Legion that studios decide to release in the doldrums of September or the early months of the year (in this case, January). I'm slightly engaged by the trailer only because the visual element at least seems to be going for something and as this is director Stuart Beattie's first major film there might be some real inventiveness and energy here that the whole vibe I'm getting from the film is covering up. We'll just have to wait and see as I, Frankenstein opens January 24, 2014 and also stars Bill Nighy, Yvonne Strahovski, Miranda Otto and Jai Courtney.