Predator: Killer of Killers (2025)

​“Predator: Killer of Killers” stars Lindsay LaVanchy, Louis Ozawa, Rick Gonzalez, and Michael Biehn.  Released on Hulu on June 6, 2025, the film follows a group of warriors battling several types of alien predators.

The film was directed by Dan Trachtenberg and Joshua Wassung.  Trachtenberg is known for directing “Portal: No Escape”, “10 Cloverfield Lane”, and “Prey”.  It is the eighth installment in the “Predator” franchise.  Throughout centuries, humanity has consistently established itself as the top predator in the dog-eat-dog world, hunting unsuspecting prey for sport or even for honor.  However, their titles wound up being challenged by those who also share the thrill of the hunt yet are not from the same planet.  “Predator” stands as a genre-defining classic that revitalized the traditional “predator versus prey” dynamic by pitting humanity against merciless, intergalactic hunters.  With its compelling mix of suspense, violence, and survival horror, the sci-fi action masterpiece dominated the cinematic game of “cat and mouse”, leading to a franchise consisting of sequels, comic books, novels, and video games that delve deeper into the Predators’ history with Earth.  At least, until 2018’s “The Predator” stumbled critically and financially, faltering the franchise’s winning streak.

Fortunately, this setback was short-lived, as director Dan Trachtenberg reignited the Predator’s insatiable desire for the hunt with the prequel, “Prey,” which follows the titular hunter invading the Northern Great Plains in 1719.  Its strong reception from critics and audiences was enough to persuade Hollywood to entrust Trachtenberg with steering the sci-fi franchise toward a promising new future.  His upcoming installment, “Predator: Badlands,” is set to invade theaters later this year, marking the franchise’s return to the big screen since 2018.  However, as it turns out, this isn’t the only “Predator” movie we’re getting this year, as Trachtenberg had secretly developed a new installment for Hulu that puts the intergalactic predators in the realm of adult animation.  The combination of “Predator” and “animation” held exciting potential for exploring new territories within the franchise, but was its execution able to make for another successful hunt?  Let’s find out.

The story centers on three distinct characters, each set in different historical eras.  Ursa (LaVanchy) is a Viking warrior in 841 Scandinavia leading her son, Anders (Damien Haas), and their clan into battle to avenge her father’s death.  Kenji and Kiyoshi Kamakami (Ozawa) are estranged samurai brothers in 1600s feudal Japan who reunite after Kiyoshi inherits his father’s role as lord of the region.  Finally, there’s Torres (Gonzalez), a mechanic who’s drafted into the U.S. Navy as a fighter pilot during World War II.  As the characters confront the personal challenges before them, they encounter the unexpected arrival of the Predators, intergalactic hunters seeking to kill their prey for sport.  This sets the stage for the ultimate confrontation that brings all three characters face-to-face with the fearless Predator warlord.

I was among those who believed the “Predator” franchise wouldn’t continue to see the light of day after “The Predator”.  Admittedly, I found a few enjoyable moments in the 2018 installment that offered some intriguing new directions for the sci-fi horror series.  However, I can also agree that it’s a far cry from what the first two installments delivered.  It was a shame, too, especially considering Shane Black’s solid track record before helming “The Predator”.  That perspective changed when I watched “Prey” on Hulu, which reignited my interest in the franchise.  Regarding Dan Trachtenberg’s skillful direction of its compelling plot and Amber Midthunder’s standout performance, “Prey” stood out as one of the best things to come out of the IP.  This left me eager to see if Trachtenberg could successfully move the franchise forward, particularly with “Badlands” set to release this fall.  Thankfully, I didn’t have to wait too long to have my question answered, thanks to his secret animated installment, “Killer of Killers”.

But, despite my eagerness, it took me a while to get around to this film, mainly because my schedule kept me busy.  Fortunately, I managed to carve out some free time to check out the animated world of prey versus predator before I forgot about it again.  Was the wait worth it?  Absolutely!  While it’s not without its minor issues, “Killer of Killers” is a thrilling and refreshing change of pace for the sci-fi franchise that effectively utilizes its familiar story beats with an artistic flair.  Similar to the previous entries, “Killer of Killers” adheres to the classic “prey vs. predator” narrative that showcases human protagonists battling intergalactic alien hunters.  “Predator 2” introduced the possibility of distinct predators confronting human warriors across different eras, a plot device that was explored further in Dan Trachtenberg’s “Prey”, sparking interest in the franchise’s lore and the potential of its historical confrontations.

“Killer of Killers” continues to delve into this lore in the form of an anthology film.  This means audiences are treated to not one, not two, but three mini-stories for the price of one, each featuring characters from different eras facing against the Predators.  Are you interested in a Viking battling a Predator?  This movie delivers that!  How about a samurai going toe-to-toe with the intergalactic hunter?  It provides that as well, along with an aerial battle in World War II that pits airfighters against a Predator starship.  This film not only addressed those questions people have been clamoring for years, but it also delivered intensity, pulp, and entertainment in all aspects of the storytelling.  However, despite being set in various timelines, those short stories tend to feel somewhat repetitive in their restrained narrative beats, particularly in the first two segments.  The movie also benefited from the thematic elements provided for these stories, such as “The Shield”, which depicts an old-fashioned tale of revenge, and “The Sword”, which explores a brotherhood fractured by their father’s tradition before reuniting against a common threat.  They didn’t pack a strong emotional impact due to the limitations of the narrative structures.  However, “Killer of Killers” demonstrates that sometimes less is more, highlighting the captivating depth of its characters and artistry within the span of three twenty-minute-long shorts.

If I were to rank the film’s mini-stories, I would personally place “The Sword” as my favorite of the three.  This nearly dialogue-free segment set in 1600s Japan showcased Dan Trachtenberg’s visual storytelling and ability to evoke cinematic immersion.  The segment almost felt like a nod to the classic Japanese films of yesteryear, enriched with a sprinkle of sci-fi elements, of course.  The fight choreography was sublime in capturing the swiftness and exhilaration of the characters’ martial arts techniques.  What makes it even more impressive is that it never lost focus on providing the emotional core of the two estranged brothers without relying heavily on dialogue, thanks to Louis Ozawa’s solid vocal performance as the Kamakami brothers.  Interestingly, this wasn’t Ozawa’s first foray into the “Predator” franchise, as he played Hanzo Kamakami in 2010’s “Predators”, hinting at a connection between the two installments.  Again, its narrative limitations held it back from being deeply poignant, but it used the best of those capabilities to make its small-scale tale feel grander.  

“The Bullet” is my second favorite, primarily because of Trachtenberg’s direction of the aerial action sequences.  Much of the battle unfolds in the sky, and Trachtenberg ensured that the aerial dogfights are as exhilarating and action-packed as those in previous war movies.  It also offered an energetically fun take on the classic “David vs. Goliath” theme, pitting a scrawny mechanic against a Predator fighter pilot.  This dynamic elevates the suspense and danger of the aerial dogfights while enhancing the likability of John Torres.  Rick Gonzalez did a decent job bringing John to life through his vocal performance, imbuing him with approachable human traits and effectively embodying his vulnerability.  Torres also stands apart from the other characters, Kenji and Ursu, due to his lack of fighting skills, which forces him to rely on his courage and smarts to outsmart his galactic opponent.  This direction fuels the franchise’s ability to portray characters using more than just strength and weaponry to beat their enemy at their own game.  

Finally, we have “The Shield” as my number three, focusing on Ursu’s quest for revenge.  Besides the well-executed one-take sequence and artistry of Scandinavian lore, “The Shield” followed the basic narrative tropes that struggled to evoke much emotion in the Viking warrior’s journey and her relationship with her son.  Lindsay LaVanchy was suitable in the role of Ursu, although the direction of her sentimental range lacked the impact needed to align with the character’s ruthlessness.  As for the film's epilogue, it’s a visually dazzling and action-packed conclusion that tests the characters’ cooperation in an alien-like gladiatorial arena, even though its sequel-teasing ending prevented the film from standing on its own.

The film’s animation is also another standout worth mentioning.  Crafted by the talented team at The Third Floor in collaboration with Unreal Engine, the style presented a stylized and visually artistic spectacle that was reminiscent of other renowned projects with similar presentations.  The most notable one that serves as a significant influence is Netflix’s “Arcane”.  This League of Legends adaptation utilizes 3D animation and minor doses of traditional animation to emphasize the unique stylization of its visuals and steampunk action, setting a high bar for artistic presentations.  If you haven’t watched the show yet, I highly recommend doing so.  It’s a fantastic series that masterfully combines character-driven storytelling with stunning visuals.  Several artists who previously worked on “Arcane” lent their expertise to the film’s production, particularly in the similar design choices for the human characters and the intricately crafted backgrounds.  Did they help in elevating the franchise’s traditionally simplistic plots and R-rated violence?  The answer to that question is a resounding yes.  

The animation was nothing short of breathtaking, seamlessly blending stylized action choreography with its distinctive Predator designs and art direction.  The cinematography also complimented the animation beautifully, as its wide-angle shots captured the immersive beauty of the artistic choices while maintaining the intense energy of the film's frenzied violence and gore.  This approach is another example of allowing viewers to be fully immersed in a film’s artistic vision through the art of cinematography, whether in live-action or animated formats.  However, the animation is not without its flaws, which prevent it from being revolutionary.  There were occasional moments when the choppy frame rates disrupted the fluidity of the character movements, and some of their facial expressions were slightly stiff in their expressiveness.  Fortunately, these issues were largely overshadowed by a visual style that embraces and revitalizes the “Predator” lore with an artistic palette that breathes new life into the franchise.

Overall, “Predator: Killer of Killers” is a visually striking and deeply engaging collection of “prey vs. predator” match-ups that kills its way into the sci-fi franchise’s hall of fame.  Through its innovative style and anthology format, the film continues to reinvigorate the iconic film series by propelling it to exciting yet familiar directions for its traditional narrative.  More importantly, it also stands as a highly entertaining and artistically crafted standalone movie that further emphasizes animation as a legitimate medium of storytelling, transcending the notion of being merely a children’s cartoon.  Some of its emotional beats may not resonate as profoundly as they could have, and the specific choices regarding the frame rates and facial expressions hinder its animation style from achieving greatness.  However, it more than compensates for these shortcomings by delivering the blood, gore, and character-driven moments that many fans would expect from the franchise, thanks to its voice cast, Dan Trachtenberg’s direction, thrilling action sequences, and meticulously designed animation.  While it doesn’t reach the same heights as “Prey”, it’s still a worthy champion that ranks among one of the franchise’s best.

B+