Born from an ’80s film filled with testosterone-fuelled macho action, Dan Trachtenberg reshaped the universe with his first entry, “Prey” (2022). The Hulu exclusive delivered a female-led period thriller that did what most reboots fail to – tell a new story while preserving the original’s core themes.
His follow-up, “Predator: Killer of Killers” (2025), was another online-exclusive animated film that took its own sweet time building the lore of the Yautja, the name of the Predator species.
With those two under his belt, Disney had enough confidence in the director to pull it off on the big screen. And he nails his third entry into the franchise with plasma precision, transporting viewers to a terrifying landscape within the first 10 minutes.
By opening on the Yautja home planet, “Badlands” invites us to explore Predator culture from within – the rites, the expectations, the shame of failure: something previous instalments only hinted at.
Dek, a young Yautja warrior-wannabe played by newcomer Dimitrius Schuster-Koloamatangi, seeks to earn the respect of his father – by hunting down an unkillable predator. This is toxic parenting on a whole other level, but hey, more than half the world’s population will relate.
When Dek meets a Weyland-Yutani synthetic named Thia (Elle Fanning), we learn that company from the “Alien” franchise is also present on the planet. From this point on, “Badlands” turns from a story of honour into a buddy-cop movie.
The dynamics work surprisingly well. Dek’s body language as the runt of his clan translates well in every scene, while Fanning does a brilliant job of balancing his tough exterior and, along the way, manages to mellow him out from being a solo hunter into a pack leader.
Their unlikely alliance brings an emotional undertow to the action; Dek’s quest for validation, the father-son dynamic overturned, and the outsider’s struggle all give the carnage a purpose beyond spectacle.
Dek’s character growth is reflected not only in his roars and grunts in his native language but also in his castmates’ reactions. It is truly refreshing to experience something that hasn’t been done in the 38-year history of this cinematic universe, yet feels so familiar in terms of the beats of the story.
Here comes a film that doesn’t just revisit but rethinks the Predator mythos, asking: what if the hunter was the hero, the prey another predator, the fight internal as much as external?
Watching Dek find his family among strangers while battling monsters and deadly environments makes “Badlands” such a satisfying experience. Plus, you don’t need to know all the “Predator” or “Alien” backstories, which makes this a great entry for newcomers.
The pacing here is tight with nary a dull moment, while the action set pieces are crafted brilliantly, carried by Trachtenberg’s well-framed shots throughout.
Indeed, with a budget of US$100 million, the director does a solid job of ensuring production costs are well spent. From the bioluminescent jungles to the brutal “death planet”, the film is a VFX feast, filling you with Predator tech, alien flora, and synth-creature designs.
The music, while not as iconic as the original two, does a decent job in maintaining the energy on a high, keeping you on the edge of your seat.
The film carries a PG-13 rating and a more inclusive tone, signalling the franchise’s goal of attracting a younger and wider audience. But it still manages to keep the hunt brutal, the fear present, and the Predator mythology respected.
Between the jaw-dropping visuals, fresh character dynamics, and a reinvigorated sense of fun, “Badlands” reminds us why cinema still matters – for stories that demand to be experienced, not streamed.
As of press time, ‘Predator: Badlands’ is screening in cinemas nationwide.