Predator has been having something of a revival lately. I recently watched Predator: Killer of Killers, an impressive anthology series that pitted warriors from different eras against Predator hunters – stylish, creative, and surprisingly thoughtful. Add to that Prey (2022), a surprise Hulu hit that deserved a theatrical release, and it seemed like the franchise was finally regaining its bite. So when I heard about Predator: Badlands, I expected a story with the same care and imagination, backed by visceral fight sequences to kick off the weekend. Unfortunately, it doesn’t quite deliver on that promise.
The story follows a Predator who’s more underdog than apex, the “runt of the litter,” trying to find his place and earn his stripes on a revenge quest that leads him to an unlikely found family. It’s a solid idea on paper, almost mythic, but the execution turns it into a cliché redemption arc. There’s no emotional heft behind it, only the outline of one. The film gestures toward something deeper about honour, isolation, and survival but never commits to exploring it.
The film tries to expand the franchise by fusing primal spectacle with emotional depth, but in trying to be both heartfelt and explosive, it ends up being neither. The action is routine, the story mechanical. It reminded me of the John Wick spin-off Ballerina: you go in expecting sharp, kinetic choreography and just enough story to carry you from one set piece to the next. Instead, it weaves a heavier narrative into what should have been a lean survival tale, and the result is an oddly hollow experience that makes you wish you could skip straight to the action sequences.
One of the first things that stood out, though not in a good way, is the Predator dialogue. Watching the mouthpieces move as they speak is unsettling, to say the least. It’s a visual choice that takes time to adjust to, and until you do, it keeps pulling you out of the film’s world. Combined with some patchy CGI, it gives the visuals an uncanny texture that’s hard to stay immersed in. The opening fight taking place in near-darkness was an early red flag. That “night wash” look often hides rough effects. To the film’s credit, the CGI improves as it goes, especially in the variety of weapons used throughout.
The choreography itself isn’t bad, but you expect jaw-dropping moments that never arrive. Some of the later fights are genuinely entertaining, and at times the camera captures the raw, kinetic tension the franchise used to deliver with ease. The film leans into Marvel-style humour — quips after kills, awkward banter mid-hunt — which dulls the edge but never tips into cringe. It’s the kind of writing that mistakes irony for charm. Combine that with recycled story beats and you get something that ultimately lets down an otherwise interesting premise.
As of writing, the film has earned $40 million in the U.S. and $80 million globally on its opening weekend, so a sequel seems inevitable. I won’t be waiting expectantly, but I’ll give it a chance if it arrives. There’s potential buried here that could be uncovered with the right course correction. Glimpses of what could have been are: a few solid fights, a pulsing score, a hint of personality. In the end, Predator: Badlands wants to be feral and heartfelt yet lands tame and predictable.
🎬 Verdict
2.5 / 5 — Entertaining in bursts but ultimately surface-deep and forgettable.
Best for: Casual franchise fans looking for easy spectacle.
Skip if: You want the grit and tension of Prey or the dread of the original.