Predator Movie Review

Released: June 12th 1987 (United States)

Length: 107 Minutes

Certificate: 18

Director: John McTiernan

Starring: Arnold Schwarzenegger, Carl Weathers, Elpida Carillo, Bill Duke, Jesse Ventura, Richard Chaves, Sonny Landham, Shane Black and Kevin Peter Hall

Movie monsters have always been a part of horror cinema, though every so often they cross over into the realm of action. With 1987’s Predator, director John McTiernan found his place in the pantheon of great genre directors, not to mention delivering one of the most memorable antagonists in film history.

Taking place in the jungles of Central America, Predator takes place in a typical action movie setting; Captain Alan “Dutch” Schafer (Arnold Schwarzenegger) and his elite rescue team alongside CIA agent Dillon (Carl Weathers) are sent in to rescue US hostages from the local guerrillas. Things go off without a hitch at first; the team blows through the enemy without any trouble, but as they make their way back across the border, they are unaware they are being watched by an unseen enemy using thermal vision and other advanced technologies. This sudden shift in tone is what defines Predator’s narrative and it catches new viewers completely off guard; at first the film is like every other action film of the time, but from here it’s constant suspense, wondering when the creature will strike next and as the film builds to the next big scare, the alien antagonist also builds with it. Between cloaking itself invisible and a mask covering its identity, the monster is endlessly elusive, and the audience is left to wonder what lies beneath all that technology. Its an all-around brilliant way to reveal the monster and as things grow more desperate, the film accelerates to a superb game of cat and mouse in the final moments.

The cast of Predator is notable mainly for their massive, macho bulk; whether it’s Arnold Schwarzenegger’s Dutch or Jesse Ventura’s Blain, every member of the commando unit oozes testosterone, a common trait of eighties action. But unlike its contemporaries, Predator layers key differences, traits and dialogue throughout the narrative to set each man apart from each other. It’s strong yet simple characterisation at its most efficient as we learn little details about the team and how they all share a camaraderie. This means that despite very little backstory, you still end up caring about the characters and their struggle against a near unstoppable enemy. Schwarzenegger delivers one of his best performances here, a steadfast leader who won’t back down and he’s matched by Carl Weathers of Rocky fame, who fills in the backstory while also delivering a dramatic tension over the mission. Other side characters like the partners Mac (Bill Duke) and Blain have a background history that roots them together, while Billy (Sonny Landham) the team tracker has a nervous perception about him. All the cast members churn out some of the best lines in action cinema that not only fuel their characterisation as no-nonsense rugged warriors, but also pull the audience into the predicament they find themselves in. The final part of the production is Kevin Peter Hall, whose towering height and physical prowess really sell the film’s central antagonist. The way he moves and acts throughout the film really clues the audience in to the fact that the Predator is certainly not of our world.

Predator is a tale of two production aspects. On the one hand it features over-the-top eighties action with gigantic guns and some incredible stunt work to boot, but on the other, it features some excellent creativity in both special effects and costume design. Of course, everything is practical and in-camera with real explosions; the destruction to the jungle environments showcases the sheer power of the weapons at the team’s disposal. The camerawork is slow yet fluid, inching around the jungle environments, occasionally revealing some horrifying imagery lying just under the team’s noses. The gore is suitably grotesque, highlighting the power of the antagonist’s equipment. Then there’s the Predator himself, an incredibly detailed design that mixes ugliness, technological superiority and oddball features to create an unforgettable and spectacularly creepy look. Whether it’s the fluorescent green blood or the highly convincing invisibility effect achieved by the filmmakers, the creature hasn’t lost one inch of its of its terror. The music by Alan Silvestri is equally fantastic, a mixture of intense military notes against subtle sci-fi undertones; the use of tribal drums creates an especially unnerving atmosphere and it builds to often chilling climaxes in the Predator’s more brutally efficient attacks. The production team made the best of every aspect of the production, perfectly blending the action with the special effects.

Predator’s blistering action and creeping suspense make it an undeniable classic of cinema; it’s not just one of the best films of the eighties but also one of the best action films ever made. But of course, we all remember it for the iconic monster at its centre, a masterpiece of physical acting and creative design that still frightens audiences three decades later. See it if you haven’t already…

Rating: 5/5 Stars (Exceptional)

The Meg Movie Review

Released: August 10th 2018 (UK, US and China)

Length: 113 Minutes

Certificate: 12A

Director: Jon Turteltaub

Starring: Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, Winston Chao, Cliff Curtis, Page Kennedy, Jessica McNamee and Masi Oka

Shark films have been around since 1975’s Jaws powered through the industry, yet even over 40 years later, they still have the ability to make a profit. This time we’re putting Jason Statham in the tank to face off against one of nature’s most iconic creatures with The Meg, a film which doesn’t really excel at anything but still gives audiences what they’re looking for.

Jason Statham vs Shark is all you really need to know about The Meg’s plot; when a science expedition to the deepest part of the earth goes wrong at the Mana One facility, it’s up to Jonas Taylor (Statham) to save the day, what the motley band of researchers doesn’t realise is that the deep Pilipino trench houses Megalodon, a giant shark long thought to have been extinct. From here, Jonas works with fellow scientists and doctors at the research station to find a way to kill the beast and it mainly follows this collection of characters, before later moving across the civilization as the titular monster closes in. With a corny title and basic subject matter, you know what you’re getting when you walk into the screen. The Meg is never so serious that it turns the audience off, nor is it so schlocky that it veers into b-movie territory. It occupies a handy spot in the middle that avoids the pitfalls of both, without being too remarkable in return. The films serves up a good amount of action and never slows down so much to let other elements get in the way of it.

Casting isn’t much of a focus in The Meg and it shows with its central star. Jason Statham is, just like every other film he’s starred in, perfectly capable as both a simple action hero and physical actor; at this point we’re used to seeing his roles blend together no matter the franchise and he throws himself into the proceedings (which is fitting, given how he used to be a diver). Following close behind is Chinese actress Li Bingbing as Suyin Zhang, another capably performed role that matches Statham well. It’s clear from the offset that The Meg isn’t all that interested in giving us memorable characters. Despite this low development though, the cast are all giving their best in their roles. Ruby Rose makes for a smoothly acted tech hacker, and Cliff Curtis acts as an anchor for the other team members to rally behind. The weakest link in the cast is Rainn Wilson, who plays a pretty cliched billionaire without many redeeming qualities. At times the dialogue can be groan-worthy, but at others it can also be cheerfully self-aware, particularly a scene in the first act where Statham runs down the clichés of a protagonist getting called to action. It’s moments like these which raise the film above mediocrity, along with the film’s capable set-pieces, which I’ll talk about now.

The effects surrounding The Meg are quite good for the most part, relying heavily on CGI to create a sense of scale and the most part it really works. All the nifty underwater gadgets and vehicles in the offshore base pop out of the scenery with some great lighting that both shows off the sheer size of the shark along with the depths it inhabits. The set designs are also very well suited to the action, placing the audience in a hardened glass cage one moment and in the shallow reefs near a tropical beach the next. The music on the other hand is sadly forgettable; it’s hard to complement the tension when we’ve seen so many similar shark films and their efforts to frighten the viewer have been done to death. It’s mostly a standard collection of sombre undertones and ambient instruments for the underwater scenes. In addition, the action, while mostly well shot, does fall into the hole of rapid cuts at some points as well, particularly in its final moments. While nothing mind-blowing, The Meg is competent at what it does, delivering those fast-paced underwater thrills we’ve come to expect from the sub-genre.

Normally I wouldn’t enjoy films like The Meg; the plot and characters for the most part are pretty thin and with so many shark films on store shelves, it’s hard to take the film’s attempts at drama seriously. Yet despite this, the film knows what it’s out to give and often relishes in it, making it a nice chunk of innocent summer fun. It won’t be winning any accolades, but you won’t leave feeling cheated either.

Rating: 3/5 Stars (Fair)