- Date of Release: 07 November 2025
- Genre: Adventure, SciFi, Thriller
- Language: English
- Watch On: Theatres Only
Predator: Badlands
Introduction
The familiar trope of predators-aren’t-the-real-predators-but-humans-are is a tried and tested formula that is kind of getting repetitive now. This formula doesn’t only cover the popular ones in the form of Avatar but also extends to aliens in a film like ET (1982) or its home-grown version in the form of Koi Mil Gaya (2003). Unfortunately for the new English film Predator Badlands, you witness a similar sort of a subplot between the two protagonists of the film. And ironically, that particular subplot that transitions into a buddy drama during its second act is the most effective passage in an otherwise routine film that relies on its cinematography and VFX to hold your attention. This isn’t an absolute downer like Tron: Ares that boasted of nothing in terms of the story, but I can’t help but think that the same issue partially extends to this film also that wants to cash in on the popularity of the franchise, while being increasingly reluctant to add a new spin-off to the existing pattern that you are witness to in this world. So after predators, aliens and a bit of humans, the only new character is that of an android that is operated by humans. But then where is the innovation really?
Story & Screenplay
The generic tropes of Predator: Badlands are inflicted right at the start when you are introduced to Dek (Dimitrius Schuster-Koloamatangi), a young predator of the Yautja clan who is nearly killed by his father before escaping to the Genna planet in order to prove his mettle and bring home the head and spine of another predator Kalisk. It must be noted that Dek is looked upon as a down-cast by his own father, even while killing his own elder son who dies trying to protect his younger sibling, something that adds as a sense of motivation to Dek. But the generic or rather confused tropes are in its subtext – the drama triggers a sentiment of revenge while having the character of the father, the main wrecker-in-chief to completely disappear for most parts of the runtime. This parallel can be drawn to the main issue of a film like Thugs Of Hindostan to a lesser context, wherein the focus of the film shifts from a revenge saga to a buddy drama, although the good news remains that the focus doesn’t really shift from Dek, only whilst adding another character to the mix with him.
On Genna, Dek acquaints Thia (Elle Fanning), a damaged Weyland Yutani Corporation synthetic who is sent on the planet to capture the Kalisk for research purposes (by hunans ofcourse). A scene prior to this reveals on how Dek finds it increasingly difficult to survive on the planet whose flora and fauna are dangerous beings to his survival too. Even Thia is found tied to a tree while being limb-less during her tryst with Kalisk, thereby forcing an unlikely partnership that drives the narrative here. Dek wishes to find Kalisk on his own, but gets increasingly self-aware of his chances of survival if he were to team up with Thia. The latter is a chirpy synthetic, almost an underdog in her own clan frequently ‘irritating’ Dek along the way, with a nagging affection that would be synonymous to a character like Geet from Jab We Met (2006). And this formulates for some of the best moments in the drama, even as Thia and Dek look out for each other in their multiple skirmishes in their path to Kalisk.
Another interesting concept that runs in parallel is the introduction of Tessa (Elle Fanning again), a look-alike of Thia who is another android programmed to kill anyone who comes in between her mission to capture Kalisk. Collectively, both Thia and Tessa are bourne out of the same synthetic – even as one transitions into My Hyde while the other continues to be Dr Jekyll. Thia is the affectionate one, wishing to rely on teamwork to get her chore done, while Tessa works on the principles of capitalism and destruction, much like Athena in Tron: Ares but slightly more layered given the creative choice of being a look-alike to Thia. There is a subtext buried somewhere on how the same person can react differently to a single situation, a point that holds its relevance in the final act.
The emotional core of the drama hinges on the presence of a third character in the dynamic between Dek and Thia, but that single plot-point comes a touch too late in the film, as opposed to giving the viewers some time to invest in the newfound equation. Clearly, the idea was to shock the viewers with a twist rather than playing your emotional cards a little better. But my main criticism was with respect to its final act that seemed heavily borrowed from the basic theme of a film like Avatar (2008).
Humans are the most dangerous predators in the wake of capitalism and environmentalism are tried and tested themes that had peaked in a film like Avatar nearly two decades ago. There isn’t an issue in re-exploring these morally correct thenes either, but it compromises on the predictability of the drama, as is seen here. The staging is sloppy too, almost a tonal shift to the buddy drama that peaked the drama here, making the drama increasingly generic. Even the emotional core of the drama remained buried in the garb of a generic layer that failed to propel the drama to greatness. And a late circle back to the revenge angle from the start of the film loses its relevance too, making the drama here enjoyable yes, but equally forgettable.
Dialogues, Music & Direction
The dialogues here ponder on moments of affection between Dek and Thia that makes most of the drama watchable through a playful banter between them. Yet, the emotions could have peaked even further with bouts of philosophy that could have been sprinkled like in the case of The Wild Robot (2024) that absolutely had hit it out of the park. What that could have done is added a fresh twist to the predator concept, particularly with a character like Dek who had a lot of potential in this direction. The BGM is pretty solid while elevating the impact of various scene, particularly in scenes of combat. The cinematography is top-notch something that truly can be appreciated on the big screen. The portions involving the landscape and the adrenaline-pumping combat sequences are wonderful to witnessed, most of which are laced with some incredible VFX that truly enhances the viewing experience. Even the moments of gore are handled well, with a creative decision to use a green ‘slimy’ liquid as a substitute for blood.
The editing pattern ensures that the runtime of the film remains taut but the flip side to the argument remains on how the emotional quotient gets compromised with a lesser screentime here. Director Dan Trachtenberg does a decent job with the proceedings of the film here. While there isn’t a strong case of novelty here, the heart of the film is the dynamic between Dek and Thia that the director explores pretty well. My main complaint though was the director’s decision to opt for far too many generic tropes in the film that are now synonymous with its genre too. But broadly, handling certain passages of intrigue was done rather well here, and for that, the director needs to be complimented.
Performances
The performances are pretty good by the members of the cast. Dimitrius Schuster-Koloamatangi as Dek is heavily trapped up with his costumes and prosthetics (amazing job by the art and the prosthetics department there), but despite that he manages to impress here. This is a typical underdog template and Dimitrius plays the typical underdog rather well here, having shades of intimidation but also showcasing his affectionate side, pretty well. And he scores in scenes of combat too. Elle Fanning in two varied characters of Thia and Tessa is outstanding here. As Thia, she is chirpy and infectious with her energy. As Tessa, she is calculative and fatal with her antics. And she manages to leave a lasting impression with both these characters.
Conclusion
Predator: Badlands is a decently enjoyable sci-fi buddy actioner in a drama that falls short of greatness due to its over-reliance on the generic tropes of the genre. But then it is still entertaining with its visuals and certain character dynamics that make for a decently fun outing at the cinemas.<span;>Available in a theatre near you.