Nimród Antal
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The film, a surprisingly violent and kinetic slapstick comedy reminiscent of Clive Barker's "Midnight Meat Train," begins with one character aping Harpo Marx's blowtorch lighter bit from Duck Soup and ends with scenes that recall Vincent Ward's visionary The Navigator.
Clearly made by fans of the original film, this sequel treats its source material, core concept and fan base with utmost respect as it replicates the vibe of “Predator” while upping the special effects and, to a degree, character development.
It looks like a "Predator" movie.
The 1987 Schwarzenegger semi-classic "Predator" spawned a sequel, called "Predator 2," plus crossover films "Alien vs Predator" and "Aliens vs Predator: Requiem," not to mention a comic book.
This new version tries to restore some of the straight-ahead intensity of the original 1987 Predator, while also pushing it deeper into the realm of old-fashioned horror.
Yes, “Predators,’’ with its tropical mystery; sweaty, confused cast; and no exit, is “Lost,’’ on the one hand.
The strangely coincidental comparisons to Lost that pop up (characters wake up in the jungle, wonder if they're in Purgatory, and band together against an unknown enemy that seems to disappear into thin air).
Once they’ve thudded to the jungle floor, Predators' opening leg plays as a sort of “Eight Characters in Search of a Captor,” or perhaps Lost in ten minutes: the characters amusingly cycle through theories, including that they’re dead and in hell, while the audience patiently waits for them to catch up.
This is less a franchise reboot than a portmanteau of the original movie, ABC's Lost, hokey old World War II programmers, and all the money in the world.
Coming on the heels of the conclusion of small screen phenomenon Lost, which similarly made hay out of a group of strangers thrown together into an insane and intense situation in a remote environment, Predators seems especially lacking in this regard — in its steadfast, almost allergic avoidance to any sort of intellectual reasoning regarding the group's surroundings and who might have put them there.
Instead, the film is written as a “What If” episode of “Lost” where Jack and company learn that aliens are on the island in addition to polar bears.
Why? It’s another attempt to resurrect the Predator franchise, a series that started with brawny, two-fisted pugnaciousness in 1987 with John McTiernan ( Die Hard ) at the helm and star Arnold Schwarzenegger leading the way, only to be followed up by a series of sequels and spinoffs of varying quality, including 2004’s Alien vs. Predator , 2010’s Predators , and 2018’s The Predator .
Unlike nearly all of those films (with the possible exception of 2010’s Predators ), Prey takes a different angle on the human-Predator dynamic — one that more closely echoes that of the original film.
But in its edgy, knowing depiction of urban malaise and subversive desires, it recalls the permanent midnight of "Taxi Driver."
Like his fellow European transplant Nimród Antal — who parlayed the good reviews for the Budapest-set crime comedy Kontroll into a gig helming the franchise sequel Predators — Espinosa is a solid craftsman without any pretensions to artistry, the opposite of Scott, who hasn’t met a script that he hasn’t tried to inflate with hot air in over 40 years.
A cross between Chris Noth and Clancy Brown's The Kurgan from Highlander , Bulcsú (Sándor Csányi) is the Oedipal anti-hero at the heart of Hungarian director Nimród Antal's drop-dead brilliant Kontroll.
While we’ve seen this scenario, and its parameters (Nimrod Antal’s Armored , 2009, comes to mind), it’s a well-executed and perversely stylish return for Guy Ritchie.
Borrowing a few pages from James Mangold's Identity and reminiscent of John Dahl's roadside chillers, Vacancy is the epitome of formula: It's about an estranged married couple who, following an ill-advised detour and an unfortunate automobile mishap, find themselves spending the night in the seriously grungy Pinewood Motel.
With its fluid, articulate camera work, "Kontroll" often resembles the similarly lean-and-mean 1998 thriller "Run Lola Run."
Think Run Lola Run, which wasn't that long ago.
— it becomes “Rambo,’’ “Aliens,’’ and “Avatar.’’
The screenplay by returning Chapter 3 writer Shay Hatten and Predators (2010) scribe Michael Finch recognizes that Wick has essentially been living on borrowed time since the conclusion of the second film.
Written and directed by John Wick franchise mainstays Derek Kolstad and stunt coordinator-turned-director Chad Stahelski with co-writing credits from Shay Hatten ( Day Shift , Army of the Dead ) and Michael Finch ( Predators , The November Man ), John Wick: Chapter 4 finds John, still in hiding since the end of the last film, looking for a way to get revenge on the High Table.
"Vacancy" director Nimród Antal gave us a pair of heroes who fought like hell to survive, becoming closer and stronger in the effort.