There are certain films or franchises that are just epic, and the Predator series has always been one of those for me. Ever since the original Predator turned a jungle rescue mission into the ultimate intergalactic hunting trip, I’ve had a soft spot for the Yautja and their code of honour.
Now that Predator: Badlands is landing on Disney+ and physical media, I wanted to post a Reshoots Required review of the film.
Also, the previous entry, Prey, was a phenomenal return to form—lean, character-driven, and respectful of the lore while still pushing it forward in new and exiting ways.
Lets get into it, so that I can get back to watching these space hunters stab things…
A World Worth Getting Lost In
Right from the opening sequence, this film announces its intentions: we are not just here for trophy skulls.
Stereotypically, Predators, or the Yautja, are the villains. Not here.
The opening sequence is emotionally charged and character-driven. We meet Dek—not as a flawless warrior, but as what’s known in the film as a “runt” and a son desperate to prove himself to a father who frankly doesn’t deserve the title.
We get some fantastic tension and a fight sequence with Dek’s brother defending him, which sadly earns him what looks like an incredibly painful death at the hands of their father. That emotional gut punch sets the tone beautifully. This isn’t just about hunting prey. It’s about identity. Belonging. Earning your name.
And then we end up on a planet known as Genna, after Dek previously vowed to kill a creature on this world, that even his father wouldn’t dare try to kill.
At this point, the camera pulls back. The cinematography here is absolutely stunning. Wide, expansive shots of the planet Genna feel almost mythic in scale. It’s harsh, alien, and breath-taking. You can practically feel the dryness of the air and the hostility of the ecosystem.
Genna isn’t just a backdrop—it’s a character.
Every inch of it feels alive, and most of it wants to kill you.
- Plants that bubble and explode when disturbed.
- Blade-like grass sharp enough to become improvised weaponry.
- Just massive creatures.
- Huge worm like creatures that move amongst the trees.
- Ravenous bugs that just want a snack.
- Paralysing projectile flora that’s used by flying predators as a hunting tool.
That last detail really stood out to me. The idea that an animal predator would weaponise plant life to help with the hunt. That’s proper ecological storytelling. That’s writers who care.
This film reminded me why I love sci-fi when it’s done right—it builds worlds, not just scenes.
Dek: The Heart Of The Hunt
Let’s talk about Dek.
The Yautja have always reminded me a bit of the Klingons from Star Trek—a warrior culture obsessed with honour, glory, and a worthy death. But here, we get something more personal.
Dek isn’t just chasing honour. He’s chasing validation.
His father looms over the story like an emotional final boss fight is incoming. The father is a figure who measures worth only in blood and trophies. Dek’s journey becomes less about conquest and more about defining what strength actually means.
And by the end? When he declares, “I have my own clan,” it lands. Hard.
That’s character payoff done properly.
Thia: More Than A Tool
Enter Thia, the synthetic played brilliantly by Elle Fanning.
Now, if you’re a fan of the wider Alien and Predator mythology, you’ll know that whenever Weyland-Yutani shows up, nothing good follows. The film doesn’t just reference them casually—it leans into it.
We see the bio-weapons division. We see directives coded into synthetics. We see the cold corporate obsession with harvesting biological samples.
Classic Weyland-Yutani.
(Seriously. When will they learn? Every single time these missions end in Facehuggers or HR complaints.)
The inclusion of Weyland-Yutani further strengthens the connective tissue between the Predator and Alien universes. And yes—Mother makes a triumphant return too, guiding the synthetics in their morally bankrupt quest.
Thia herself is fascinating. Dek initially treats her as exactly what she was built to be: a tool. She’s carried on his back during portions of the journey, chatting away in a way that genuinely gave me C-3PO-on-Chewbacca vibes from Star Wars: Episode V – The Empire Strikes Back.
But their dynamic evolves.
When Dek finally calls her “Thia” instead of “tool,” it’s a small moment—but it speaks volumes. Especially when tied to the earlier discussion about wolves on Earth protecting their pack.
He stops being a lone hunter.
He becomes a leader.
Tessa & The Mirror Effect
The villain on Genna, Thia’s synthetic sister Tessa, functions as a brilliant thematic mirror to Dek’s father. She wants to discard Thia because she’s “broken.” Unworthy. Incomplete.
It’s the same toxic metric of value.
That parallel isn’t subtle—and that’s fine. It works. It reinforces the central theme: worth is not defined by arbitrary standards imposed by those in power.
Dek rejecting that mindset—first emotionally, then physically—makes the final act feel earned.
A Score That Stalks
The score in Predator: Badlands is superbly restrained and atmospheric. Deep, primal percussion pulses like a hunter’s heartbeat, while metallic tones echo Yautja ritual and honour.
It adds real emotional weight to Dek’s journey — especially in the opening and final confrontation — without ever becoming overbearing. When he claims his own clan, the music swells just enough to feel earned.
It doesn’t shout. It stalks.
The Final Hunt
And what a final act it is.
This is where the choreography and creativity truly shines.
Dek doesn’t just rely on standard Yautja tech. He adapts. He scavenges.
- Horns and tusks from prior kills.
- Blade grass.
- Native creatures.
- Thia’s detached walking legs as distraction tools.
- Even assistance from his monkey-like mimic companion.
Let’s pause on that little monkey creature too – I loved it.
In a world where everything is hostile, this tiny mimic creature that follows Dek around adds an unexpected warmth. It imitates him, learns from him, and becomes an ally. It’s a reminder that even in the harshest ecosystems—fictional or otherwise—life finds balance.
And the twist that that creature, when it gets older and bigger, becomes the creature Dek was originally sent to kill, is brilliant. Dek has to re-evaluate what his trophy will be: Tessa’s head.
When Dek crafts primitive versions of iconic Predator weaponry using Genna’s resources, it feels clever and earned. It’s not “plot armour.” It’s survival intelligence.
And that revenge fight against his father, right at the end of the film… Brutal. Emotional. Cathartic.
His father finally acknowledges him as worthy—but by then it’s too late. Dek doesn’t need his approval anymore.
“I have my own clan.”
Slash.
That’s how you end a character arc in a movie.
And yes, there’s a stinger at the end too. Dek declares his mother has returned… which opens up some very intriguing possibilities for the future of the franchise.
Dan Trachtenberg Does It Again
Director Dan Trachtenberg continues to prove he understands this universe.
After knocking it out of the park with Prey and Predator: Killer Of Killers, and previously delivering the tense brilliance of 10 Cloverfield Lane, he once again balances spectacle with intimacy.
His work on The Boys and Black Mirror also shows in the way he handles sci-fi themes—technology, identity, morality—all woven through genre storytelling.
The world-building here isn’t exposition-heavy. It’s visual. Behavioural. Environmental.
That’s confident filmmaking.
And quite frankly, that’s how it should be done. A lot of film-makers these days talk down to the audience and fill movies with heavy exposition or convenient plot devices. Easy MacGuffins. Dan doesn’t do this and I salute him for trusting the audience.
Lore Expansion Done Right
One of the biggest risks with franchise entries is bloat.
More lore doesn’t always mean better lore.
But Badlands strikes the balance. It expands the Yautja culture. It deepens the Alien crossover threads. And it gives us new mythology without overwriting what came before.
It pushes the characters and franchise forward.
That’s key.
Final Verdict
Predator: Badlands respects its roots while evolving the franchise. It gives us:
- Stunning cinematography
- Smart ecological world-building
- Well-choreographed action
- Strong character arcs
- A great score
- Meaningful franchise connections
- Emotional payoff
It understands that Predator stories work best when they’re not just about who survives—but about who earns their name. Their honour. Their victory.
Dek earns his status as a Predator.
And the film earns it’s status as a great Predator film.
Reshoots Required Score: No Reshoots.
The only thing I’d change is the weird title art that shows on the screen after the opening sequence. Why do we need all the small print and trademarks etc. That was a weird choice that kind of takes you out of the world for a second.
Now, excuse me whilst I rewatch that final fight sequence again and pretend I could survive more than three minutes on Genna.
This is a definite 4K purchase for us at Reshoots Required. Fantastic film.
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