Lost (2004)
Directed by Darren Lemke
Trapped in a maze of endless desert highways, bound by a vital deadline, and pursued by an unseen menace.... Jeremy Stanton is about to take the longest ride of his life. He will learn that when you reach the crossroads of life... you must be careful which way you turn.
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What critics compared Lost to
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.
As Abrams’ and Lindelof’s TV series LOST (2004 – 2010) was just coming to an end with a surprising alternate universe timeline, the duo dusted off the frequently attempted “Starfleet Academy” prequel film concept (which dates back to creator Gene Roddenberry’s announcement way back in 1968 ).
“Lost” composer Michael Giacchino’s score sadly lacks the epic-quality of the Vangelis-esque music used in the film’s promotional trailers, but it is otherwise a very impressive if overly repetitive music that fits in with both the film’s tone and the franchise as a whole.
Una mezcla que incluye tintes de Lost (2004), La cabaña del terror (2011), Westworld (1973; 2016), la propia Saw , y sólo un poco de la La isla de la fantasía que conocimos, lo que resulta en un auténtico caos narrativo que difícilmente cautivará a los aficionados de la serie setentera, pero que seguramente tampoco aportará mucho a los amantes del terror que no encontrarán nada nuevo en ella.
Pierre Morel follows his rousing directorial debut, District B13 (2004), with this disposable thriller about a retired American agent in covert operations (Liam Neeson) who goes back into action when sex-slave traffickers in Paris kidnap his teenage daughter (Maggie Grace of the ABC series Lost).