It’s almost universally acknowledged that the original Predator (1987) and Aliens (1986) are not only seminal sci-fi features but also a double whammy of high-concept studio perfection, with nary a bad word said about them among genre film fans. And rightly so as they have inspired imitators, rip-offs and such, all of which also have their dedicated fanbases. But one thing fans of these films cannot seem to agree on is their subsequent sequels and spin-offs.
Even now Predator 2 (1990) is mostly looked down upon for no other reason than it’s not the original Predator, but 30 years on it’s still a watershed moment in studio filmmaking that we aren’t likely to see again. With its wanton of bloody carnage and mean-spirited violence, it makes you wonder how 20th Century Fox green-lit this cut in the first place [1]. Predator 2 was the first entry I ever saw (sneaking my Dad’s VHS into the player when he’d gone to sleep) and even now, it remains the inspiration for my book and is still my favourite Predator entry – despite what accepted film norms would have you believe.
The sweaty, gothic comic book aesthetic that director Stephen Hopkins injects into this sequel is unparalleled to anything else in the franchise. Being the most violent entry in the series (much like another Fox 90s sequel Die Hard 2: Die Harder (1990)) it feels dangerous for a big-budget studio picture and interestingly doesn’t seem as though executives paid attention to its content; which is all the better for fans.
In the 90s, both franchises reigned supreme as they sunk their claws into every medium you could get your hands on. Be it Kenner’s line of much-loved action figures (the hedonistic days when toys were based on R-Rated properties), Dark Horse Comics’ ongoing titles for each creature (and their team-up entries), or a wild variety of video games either in the arcade (the legendary Alien Vs. Predator: Arcade), on home consoles or PC. It was only a matter of time before the xenomorphic behemoths would butt heads in live action.
Sadly, high expectations, script issues, and being stuck in development hell meant our favourite spaced-aged slashers wouldn’t hit the screen for a further 14 years, following a brief tease in Predator 2. When they did finally make it to the multiplex, it was safe to say fans felt cheated and alienated as the violence was neutered for a larger demographic, ignoring its key collective of fans.
Despite its lack of violence though, Paul W. S. Anderson’s Alien Vs. Predator (2004) is still a fun sci-fi romp with enough creature clashes and an interesting setting (not seen before or since in the series) that is perfect Friday night fodder. But if the critical and fan backlash from the first film was harsh, then Aliens Vs. Predator: Requiem (2007) was about to be ripped apart.
Granted most of the faults viewers have with AVP:R are still valid. Its characters are some of the worst committed to film, it contains some incredibly mean-spirited moments that would make Predator 2 blush, and the cinematography (despite coming from noteworthy DoP Daniel Pearl) is below par and poorly lit (or colour graded wrong) that on first viewing it’s incredibly hard to see what’s taking place when the gory action hits.
It’s a genuine shame most only see these issues, as at its core (much like the aforementioned Predator 2) this follow-up is an entertaining slasher film through and through. This is Friday the 13th with xenomorphs and teens you can’t wait to see get picked off by the lone predator, giving zero fucks as to who will be sliced and diced – young, old or pregnant, no one is safe. And despite its rather pedestrian script, it feels, unlike any studio film that would be made today. Ultimately feeling closer in tone and style (intentional or not) to the direct-to-video rip-offs and copycats the original films helped inspire.
Instead of a galactic scale, everything is stripped down to a mid-western town location (again playing into that slasher vibe), focusing on a lone Predator who is less a hunter and more a professional one-man Xeno clean-up crew, and (after its decidedly dry predecessor) we are given gore galore. Aliens and a Predator going toe-to-toe in the most mundane of locations – be it hospitals, closed sports centres, or sewers – is both ludicrous and a breath of fresh air to the series’ usual aesthetic.
The creature effects work by Studio ADI is some of the best they’ve ever committed to film, whether it’s the genuinely unsettling and towering Predalien or The Wolf’s (this predator’s nickname) impressive array of extermination tools. With less about the human characters and more about the Predator’s journey to clean up a Xeno outbreak, the Predator is our hero, not caring (much like ourselves) about the humans.
Finally, there is the (dark) elephant in the room – the often criticised and lamented cinematography. One of the key issues which remain is just how dark the film is during key sequences, particularly with some of the Xeno action (the sewer sequence being a prime example). While this is damn near unwatchable in specific formats – streaming and DVD are two of the worst ways to view this film – the Blu-Ray release thankfully lightens a lot of the sequences – though it never really gets rid of the problem. It’s a genuine shame as you want to view the creature’s effects in all their practical glory, but both sets of alien species seem to be silhouetted. Thankfully this improves towards the latter half of the film with the power-station sequence and hospital attack, unleashing all of the gloriously gory monster action.
Although it’s not some lost cult classic, it is still a grimy, violent sequel with a great pace and action that never lets up during its scant 89-minute runtime. There’s enough gore to appease your inner teenager and when the two physical creature performers duke it out, it’s hard not to crack a smile. I can’t help but love it, and it remains the perfect accompaniment to a beer and pizza night. Switch your brain off, turn out the lights (so you can see the film better) and enjoy this schlocky creature feature for what it is – fun!
[1] According to director Stephen Hopkins, there was a more extreme cut of Predator 2 which was submitted to the MPAA and given a NC-17 rating (a death nail for films as it severely limits times to show the film and who can screen it). Around 20 minutes were cut from the film, containing more gore, violence and story beats (in particular a sub-plot involving Leona’s pregnancy).
DOM O'BRIEN 
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