By Carter James, editor in chief

Big budget films seem to be in a weird spot right now. You’re either trying to make a cinematic universe, start a franchise or click the reset button because you’re on life support.  

Since Disney bought 20^th Century Fox (now 20^th Century Studios) in 2019, the theatrical output has been mostly mining the few franchises they have. The Predator franchise was kind of the red headed stepchild of the 20^th Century family. 

 “Predator” is a classic and masterclass in subverting genre. “Predator 2” is a serviceable action flick but too similar to movies of its time. “Predators” is mostly unremarkable. “The Predator” from 2018 is bad, misguided and has one of the dumbest plots in recent years. The Alien vs Predator movies are so poorly received that I never cared to watch them.  

Then comes “Prey.” It’s lean and mean like the original but actually uses the concept of hunters becoming the hunted in a wholly unique way. Setting the film to the backdrop of the colonization of Native American tribes brought back the depth this franchise desperately needed.  

“Prey” director, Dan Tratchenberg, returns to the franchise to make a new film, this time from the perspective of a predator.  

“Predator: Badlands” proves that change is needed to keep a franchise fresh. The gimmick for nearly 40 years now has been highly skilled humans having to adapt to a technologically advanced alien that hunts them for sport with ease. This film asks the simple question: What happens when the Predator is out of its depth? 

We follow Dek, a young Predator from the alien species, Yautja, who goes on a hunt to the most dangerous planet in the galaxy to prove his worth as a hunter. Along the way he teams up with a Weyland-Yutani (of the “Alien” franchise) synthetic android who also has the same goal in mind.   

In the past, other Yautja have had all the technology and weapons at their disposal. For Dek, he barely has the sword in his hand and the armor on his back. He doesn’t see this as a problem, but just another challenge to overcome on his quest for worth.  

Like past protagonists in this franchise, Dek is incredibly resourceful. Over the course of the film you see him quickly realize that his obstacles can be turned into advantages. There’s a scene in particular where he creates the iconic Predator suit and weapons with just the natural resources and bio life on the planet. Dek comes to realize that he greatest resource turns out to be working with others.  

The Yautja culture is rooted in strength, independence and a lack of mercy.  Their value is attached to the hunt.  Those who are not deemed worthy to hunt end up being executed because they’re useless to their clan. This culture of barbarism and conquering is not for survival, but the thrill of hunting.  

Because of his upbringing, Dek has a chip on his shoulder when it comes to being a hunter. He’s at a moment where this is his last chance to prove himself to his family and his clan. This isn’t a story about the quest for vanity or glory but rather an outsider finding his own sense of meaning. This is a story about found family and unlearning the toxicity of your upbringing. 

When Dek meets Tessa, the android, he rejects her offer in helping him on his quest. But because Tessa is programmed to be cunning, can speak the Yautja language, and is missing half of her body after a previous encounter with the beast of Dek’s obsession, there’s a mutual benefit for the both of them.  They realize that their life stories are just as similar as their predicament and forge a bond in their treacherous journey.  

Tessa, played wonderfully by Elle Fanning, goes on a personal journey of her own too. Where Dek must follow tradition, Tessa has a directive to follow. Though she’s just an android that was programmed to feel, Fanning brings a real humanization to the android that instantly sets her a part from the androids of previous “Alien” installments. She is a the heart and soul of this film and carries as the only human lead but never takes away from emotion that we come to feel for Dek. 

It goes without saying that the only way a gamble like this were to ever pay off is with depth in its story. It’s not a complex film or a nuanced prestige drama, but just a good story. That’swhat Trachtenberg and writer Patrick Aison understood with “Prey” and absolutely understands here. A cool concept or some flashy kills is not enough to support a film let alone keep staying power for a franchise. There has to be a reason to care. There has to be a story there underneath the immediate plot.  

The simplicity in which the story is told and character journeys are explored is what makes “Predator: Badlands” so satisfying. It’s what makes the action sequences all the morerewarding. 

It’s not a Predator movie without some well thought out action. Trachtenberg takes what we know and love about the franchise and expands on it in a way that is fresh and inventive. It is more action packed in comparison to the franchise’s slasher roots, but still retains the cat and mouse, brain over brawn style of visual storytelling that makes the franchise great.  

“Predator: Badlands” shows there is staying power to this franchise. Where “Prey” was the much-needed revival and course correction, “Badlands” is the realization that this franchise can still improve. The Predator franchise may be an old dog, but “Predator: Badlands” shows it can learn new tricks.