From his first scenes Prey (Predator: Prey), which is now available on Disney+ and Star+, clearly shows that it is a successful film experiment. The director’s camera follows the characters with unusual attention. And all this in the midst of a pure, appropriate and dynamic recreation of the Comanche people of three hundred years ago. The centuries-old forests are reminiscent of a brutal setting, and the first episodes detail the risks of the premises’ survival. But the film also achieves this through a curious look at the concepts of danger, threat and action.
As the heir to the franchise, Mining has a curious obligation. He must break with the irregularity of the set of films based on a creature whose pseudo-mythological context has become increasingly stable. predator It has evolved from an action-packed curiosity to an elaborate narrative of an intergalactic culture based on the art of the hunt.
A type of refined being belonging to a cruel society with its own rules, restrictions and codes. For decades, the saga has tried to support this idea. But he failed when he deviated from his main point of view: the quality of the titular monster as a big hunter.
Mining completely restores the concept. He processes it and supports it in a new dimension. The historical feature allows from the first minutes of the film to completely move away from the tone and rhythm of the saga. predator. Much more organic, with the context of natural landscapes shot with a firm hand and a sense of intimate work with plot surprise. But the film is much more than a curious premise. It’s actually a bold take on genre cinema that incorporates new elements to create an amazing atmosphere.
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The battle for survival decides everything Mining
Naru (Amber Midthunder) is a skilled hunter, born survivor, and member of a tribe convinced of the power of the earth and the supernatural. He must face an inexplicable creature in the desert. First time saga predator leads his alpha hunter into an area where he will have to use all his resources in a natural way.
Also one in which he can show all his deadly power. The combination does Mining weird mix of genres. One side, it’s a well-constructed and well-acted action movie. But on the other hand, this is a strange and powerful exploration of strength, evil and the inexplicable. And all this in the midst of a collection of scenes that surprise with their intelligence.
Seemingly simple premise Mining
The tribe to which the Naru belongs knows the territory of the Comanches with the intuition of the wisdom of generations. Or is it the first revelation that Mining speaks subtly. Trachtenberg shows the daily life of its inhabitants in great detail. This makes it clear that the valleys, forests and mountains that surround them do not hide the slightest secret for those who were born in them. Perhaps one of the non-standard points of the film is precisely the director’s insistence on this almost anthropological view.
During the first stage, the camera follows Naru on the hunt, showing off his skill and keen sense of physical survival. The character is cunning. He is also intuitive, performs brilliantly in open areas, and has a serene strategic sense for the environment. Elements that will later be needed to understand the film as a whole.
For the same purpose, the plot examines life in the tribe in detail and includes elements of everyday intimacy. This group of men and women coexist with a peaceful nature. Mining he is interested in his native way of life, he breaks it without falling into the stereotype. This is despite the fact that the use of the Comanche language mixed with English has something of a useless deception that adds little to the story.
Mixture of good action and suspense movie
Soon the script will make clear the need for scrupulousness of the narrative. But at first it is confusing and confusing. Especially when the film runs for almost twenty minutes without showing the monstrous creature around which, apparently, the plot revolves. But Miningall in all, there is the sum of its almost invisible details. And although it requires patience, the film builds a scenario of confrontation on the periphery.
By the time the titular monster enters the game, the narrative makes it clear that it won’t have any easy opponents to defeat. But even more: that the great alpha predator from action movies found enemies to his liking. This is a brilliant and well-designed resource that allows Mining have a plot weight that no other film in the saga has predator. This is the story of two forces of nature opposing each other.
There is a place and time in the film to reflect on the battle of intelligence, strength and skill between Naru and Predator. At the same time, to achieve maintain an increasingly frantic, elegant and neat tour through a primitive battle that has something mythological about it. Without a doubt, some of the best moments of the plot are when the protagonist is confronted by an implacable monster. A memory of the old gods that her tribe believes in and that she finds in the incarnation of an inexplicable being. The script plays with the idea of a myth, strange and unsettling in the midst of a bloody battle. And he manages to create an almost mythological setting for his characters.
From battle to fear
Mining she is ambitious. It has much more content, depth and intelligence than its predecessors. Perhaps his insistence on intimacy could be criticized, obvious clumsiness in the use of digital effects and its plot slowness plot. But in spite of everything, the film triumphs for being a valid reimagining of an ever deeper and more idiosyncratic mythology.
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AS WELL ASIt’s a bold move for a franchise whose seventh installment is in dire need of an update. Is he getting it? Not completely, but he finds a way to personalize the already familiar scenes of an unstoppable monster ready to kill.
