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‘Predator’ Gave Us Not One But TWO Epic Monster Reveals

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sci-fi horror predator

“There’s something out there waiting for us, and it ain’t no man.”

The typical slasher movie formula sees a group of people, often teens, stalked and hunted by a relentless killer with bladed weapons. Predator, released in theaters on June 12, 1987, retooled the slasher rules, swapping out vulnerable adolescents with a well-armed elite military squad prepared to take on guerilla camps in the jungle. Yet, not even they were equipped for the extraterrestrial threat that targeted them as worthy prey. 

Seeing special ops so effortlessly dispatched in the grisliest ways is one effective way to increase the threat level of any horror antagonist, alien or otherwise, but director John McTiernan layers in gradual reveals about the eponymous hunter in a way that launched a franchise and clinched the creature’s movie icon status.

This movie monster has not one, but two major reveals.


The Setup

Predator cast

Vietnam War veteran Major Alan “Dutch” Schaefer (Arnold Schwarzenegger) and his elite team of Mac (Bill Duke), Poncho (Richard Chaves), Blain (Jesse Ventura), Billy (Sonny Landham), and Hawkins (Shane Black) are tasked with a rescue mission in the South American jungle along with CIA officer Al Dillon (Carl Weathers). The team discovers a downed chopper en route to retrieving their target, its inhabitants skinned completely of flesh.

But they stay on mission. The subsequent retrieval attempt from a guerilla camp ends in bloodshed and gunfire, with the team opting to then move to the extraction point with the camp’s sole survivor, Anna (Elpidia Carrillo). But the explosive violence catches the attention of an unseen entity, one that begins picking them off one by one.


The Monster Reveal

“What the hell are you?”

Predator and Dutch

For much of Predator‘s runtime, the titular creature employs a cloaking device that camouflages it in the jungle canopy, going undetected by Dutch’s group. Quick blurs of movement give only the barest hints of its silhouette, but droplets of neon green blood on foliage confirm that whatever is stalking the military unit isn’t human. McTiernan frequently interjects the Predator’s (Kevin Peter Hall) point-of-view via thermal vision to build out the creature’s presence and threat level. It’s not until much later that we see the entity uncloaked, a humanoid beast with advanced tech. 

In keeping with slasher villain form, the Predator hides its true face behind a mask. Predator saves the reveal to herald in the climax: Dutch’s final confrontation with the monster that’s eviscerated his entire team, save for Anna. Dutch realizes this creature has an honor code and sends Anna to the chopper to safety while he creates a distraction. A confrontation leads to the permanent destruction of the alien’s cloaking device before Dutch falls into the river and escapes onto the muddy bank, where the glitching tech reveals the first full look at the creature in full armor. The design is so cool and unique, and the reveal scene even cooler, that Predator could leave it there. But McTiernan saves his best trick for last: unmasking the jungle hunter to reveal its reptilian face and spreading mandibles just as it corners Dutch. 

Schwarzenegger solidifies this iconic reveal with an appropriate response to the unmasking, uttering the iconic line: “You’re one ugly motherf*cker!”


The Death Toll

Carl Weathers in Predator

Dutch and his men come upon four skinned bodies on their way to their mission, early signs of the creature’s handiwork. From there, Dutch’s men are systematically sliced, diced, maimed, blown up, and eviscerated by the intergalactic hunter in the goriest ways possible.

This is a ruthless hunter that takes pride in its kills, as evidenced by the way it rips out Sonny’s spine and cleanses his skull and bones to keep as a trophy. It also exhibits an honor code, which means not hunting unarmed prey, which further sets this movie monster apart; this is an intelligent creature operating beyond basic animalistic instinct.


The Impact

Predator masked

Predator opened to number one at the box office and earned Stan Winston an Oscar nomination for Best Visual Effects. The film marked the start of a franchise that’s now five installments deep, not including the two crossover films with the Alien franchise. The prequel film Prey proved there’s still plenty of life left in this series, with Badlands on the way. 

It’s safe to say this enduring franchise isn’t going anywhere anytime soon.


Where to Watch

You can stream Predator on Apple TV+, Hulu, and Tubi, and it’s also available on 4K, Blu-ray, DVD, and Digital.


In television, Monster of the Week refers to the one-off monster antagonists featured in a single episode of a genre series. The popular trope was originally coined by the writers of 1963’s The Outer Limits and is commonly employed in The X-FilesBuffy the Vampire Slayer, and so much more. Pitting a series’ protagonists against featured creatures offered endless creative potential, even if it didn’t move the serialized storytelling forward in huge ways. Considering the vast sea of inventive monsters, ghouls, and creatures in horror film and TV, we’re borrowing the term to spotlight horror’s best on a weekly basis.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Editorials

‘The Strangers: Chapter 1’ – Six Things We Learned from the Blu-ray Commentary

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The Strangers Chapter 1 review

Lionsgate’s The Strangers: Chapter 1 launches a reboot trilogy based on the 2008 home invasion film, all three movies shot simultaneously under the direction of Renny Harlin.

To tide you over until Chapter 2, Chapter 1‘s home video release offers an audio commentary from star Madelaine Petsch and producer Courtney Solomon that hints at what’s to come.

Here are six things I learned from The Strangers: Chapter 1 commentary.


The Strangers Chapter 1 interview

1. The opening music cue was inspired by The Shining.

The film’s opening establishing shot roving over the woods — with Bratislava, Slovakia standing in for the small town of Venus, Oregon — evokes the beginning of Stanley Kubrick’s The Shining, which was also a point of reference for the score.

“When we were scoring this, we looked at The Shining,” says Courtney Solomon, referring to Wendy Carlos’ iconic main title theme. “‘Cause we were looking for how, even though it’s dated, they were in that open, sort of everything environment, musically.”

Justin Caine Burnett (I’ll Always Know What You Did Last Summer, 9-1-1: Lone Star) composed the score.


The Strangers Chapter 1 trailer

2. The cold open features an important character to the trilogy.

Shot together like one long movie, The Strangers trilogy will take place over a four-day period, with each subsequent entry picking up immediately after its predecessor’s finale.

Chapter 1‘s cold open features actor Ryan Bown — doing his own stunts, as Petsch points out — as a character who will play a bigger role in the coming installments.

“Jeff Morell, we’ll come to find out who this guy is as we go through all three chapters, but we sort of begin here,” Solomon notes.

“He’s a pretty important piece to this puzzle,” teases Petsch. “Some might say the piece.”

They also hint that viewers haven’t seen the last of Rachel Shenton’s Debbie, who Petsch’s Maya talks to on FaceTime, along with many of the townspeople from the diner scene.


The Strangers trilogy

3. Petsch was terrified of the project due to her love of the original film.

The shadow of the original Strangers looms large over Chapter 1. Petsch is “such a fan” that she was hesitant about doing a new version:

“I was terrified to touch that property. I think it’s an incredibly perfect horror film. I’ve seen so many horror films, and I feel like it’s one of the only ones that’s truly scared me to my bones, that I still think about all the time. So as we were trying to expound upon that story, with the second and third movies, we had to naturally repel the first story.”

Solomon similarly thinks highly of the original:

“I love the original Strangers. I wasn’t as big a fan of the sequel [2018’s The Strangers: Prey at Night], because it was just another story in a trailer park with the Strangers. I didn’t love that two of the Strangers got killed. That was just me personally; there are people that liked it. I was like, ‘I’d like to do something more interesting.’ In order to do it, to find that balance of retelling what made the first one so great as the basis to be able to launch off and tell the rest of the story.”

Petsch adds, “As we know, at the end of the first one, one of the last shots is Liv [Tyler]’s eyes opening. I’ve always wondered what happens after that.”


4. The killers’ hair is concealed to hide their identity.

Although the filmmakers opted to keep the look of the titular Strangers true to the original, Dollface and Pin-Up Girl’s hair is now concealed. This was a “purposeful change” to hide their identities, which will presumably be revealed later in the trilogy.

“We had a specific reason for doing it, obviously, because you do end up meeting a bunch of the folk from this small town,” explains Solomon. “You don’t know who’s wearing the mask, so if we had given up the hair that would make that identification a little bit easier.”


5. Petsch conceived the shower scene based on a personal fear.

In addition to starring in all three films, Petsch is an exclusive producer on the trilogy. More than a mere vanity credit, she had creative input throughout the stages of production, including the addition of Chapter 1‘s shower scene.

“This was not in the original script, the shower. Maybe our first week we were talking about what would be the scariest thing for me if I was in a situation like this,” she recalls. “I shared with you that every time I take a shower and I’m at the point where there’s suds of soap in my eyes and I’m shampooing, I’m always sure that’s when the serial killer’s gonna walk in. So we wrote this in, because I think that must be a common experience.”


The Strangers Chapter 2

6. Remaking the original film was a conscious decision to kick off the trilogy.

It’s not until the end titles that the pair directly address the thought process behind launching the reboot trilogy with a retread of the original.

“Some people may go and watch this and go, ‘Oh, my god. It was a remake of the original.’ But actually this is just act one of our giant movie! If you watched it as a whole, then you’d be like, ‘Oh, shit. That’s just where it started,” says Solomon. “This is the 90-minute setup of the entire thing.”

Petsch concurs, “Don’t get me wrong. I also feel like the original is so good that it would be crazy to just do a remake of the original, but in order to tell the story that we were trying to tell, you kind of have to go back and do a repurposing of that story with these two new characters.”

“They did the whole first movie, the original, amazing, but that’s the jumping off point. This entire giant movie that’s become three chapters was done with a lot of love,” Solomon concludes.


The Strangers: Chapter 1 is available now on 4K Ultra HD, Blu-ray, DVD, and Digital.

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