More than 35 years, six films and even a legal battle for their exploitation rights have descended since the director John McTiernan there Arnold Schwarzenegger introduce ourselves one of the most iconic monsters of modern cinema: a throat click and a heat map was enough to raise the cinematic myth category to yaultja, aliens and protagonists of “Predator” (1987). The superior race of space predators, since then, has become a useful resource for its parent society, this same 20th century fox which was sold to a Disney debuting this week on its streaming platform “Predator: in the press” (“Prey”), the last film in the franchise.
after the sound business failure and review of the latest installment in 2018 — the merits of the film by Shane Black were overshadowed by the controversy over having multiple sexual abuse convicts on the tech team—the House of Mouse put the Hunter King franchise in the hands of the director Dan TrachtenbergFamous for 10 Cloverfield Street and responsible for episodes of “Black Mirror” oh “The boys”. The idea, as in his talisman film, is once again crazy: starting from an initial scenario which had nothing to do with the “predator” and which transported us to the daily life of an 18th century Amerindian tribe, the film introduces us to the first of the yaultja to set foot on planet Earth, an explorer, almost a colonizer, of what will come later.
a space butcher
The tribal soul of “Prey”which airs Friday, August 5 on Disney+, is philosophical but also material by the healthy infection of political correctness. For their new hunt, the team led by Trachtenberg not only studied in depth the rites and traditions of Choctaws, Comanches and Cherokeesbut now confronts them with the contemporary by placing Naru (Medium Amber Dogs) in the center of the argument. Daughter of the healers of her tribe, the young woman refuses to follow the path traced by her lineage and wants to become a hunter like her brother Taabe (Dakota Beavers). Right there, a new threat in the form of a Space Butcher will interrupt any kind of festivities.
“I think the saga is in good hands and you will like it a lot, both to lifelong fans and to those who have never seen a predatory film, ”explains convinced Castors to LA RAZÓN. And he continues: “Before I was given the role, I had only seen the first film, but since then I have become an expert”. The young performer, here responsible for the most spectacular action scenes from the movie with DiLiegro Data —stuffed in the costume of an insect—, thus made his film debut after devoting himself to music for several years, exploring and exploiting his diversified heritage: he is the grandson of Mexicans, Scots, English and descendants of the people Ohkay Owingehone of the most misunderstood among those originating in North America.
And that’s where Trachtenberg’s cautious approach to Indigenous culture goes, too, with Jhane Myers, a Cherokee, as executive producer: “It was important that the film, despite the genre it belongs to, be as culturally accurate as possible. Historically it was difficult, but I think we were up to it as a team. As a descendant of those natives we see in the film, I would hate to be part of a project that takes performance for a joke“, Completed. And he adds, on the duality between responsibility and opportunity for his recently started career: “Indigenous peoples have been systematically erased, and there are fewer and fewer survivors who are really interested in the traditions and history of the peoples. For it I also understand the film as an opportunity to lift the shadows and obscurantism around the nativesby showing them not as protagonists or by removing the label of enemies, but by studying them as complete characters, polyhedral and as capable of being the heroes as the villains of their own stories”, he says goodbye convinced.
Between the historic takeover of Trachtenberg – which here also includes French settlers from the Far North – and diabolical action, “Prey” turns out to be perhaps one of the great “covers” of the summer. The viewer who wants to see beyond its precarious digital effects, who bothers only with a few animal sequences, will find a film as conscious of itself as of the legacy it imprints on the footage: no time comedy, “Prey” returns the yaultja to their legitimate status of the kings of the hunt and fearsome space assassins.