Following two divisive and ultimately failed attempts to revitalize the Predator franchise in the 2010s, 20th Century Studios has finally found its footing with the 2022 film Prey. Although it was unfortunately limited to a Hulu release due to the Disney-Fox merger, the film received a strong reception, giving the sci-fi horror franchise the boost it needed. The studio is now building on this momentum with two upcoming projects in 2025: Predator: Badlands in November, and the recently released animated film Predator: Killer of Killers.

Beyond the fact that Predator: Killer of Killers is linked to Prey through the return of director Dan Trachtenberg, who co-directs with Josh Wassung and works from a script by Micho Robert Rutale, this future trilogy appears to have been designed to bring a specific set of ideas and concepts to the Predator franchise. This is not surprising, given that the franchise has attempted this before with its 2018 film, and its sibling series Alien recently made a similar move with the 2024 film Alien: Romulus.

What sets Predator: Killer of Killers apart is the genuine effort made by Trachtenberg, Wassung, and Rutale to create a work that is informed by, but not reliant on, its predecessor. As a result, the film succeeds in nearly everything it sets out to do, making it a shame that it cannot receive a full, theatrical release. Like Prey, Killer of Killers is a project that deserves to be seen on the big screen.

Similar to previous films in the franchise, Killer of Killers focuses on a cast of humans engaging in violence against each other, only to be suddenly interrupted by a technologically superior alien. In contrast to Prey, which took its time to show how Naru and the Predator moved through the space of the 1719 Great Plains, Killer of Killers is more fast-paced, prioritizing action and gore over tension. However, this approach is not a betrayal, as the action can be both viscerally violent and relentless, making for a tense viewing experience. The co-directors, Trachtenberg and Wassung, have successfully brought over a key element from Prey, namely the continuously shifting power dynamics between the hunters and their prey.

Each of the three stories in Killer of Killers – “The Shield” set in 841 AD, “The Sword” set in 1629 Japan, and “The Bullet” set in WWII’s North Pacific – runs for approximately 20 minutes and plays out largely as expected based on their setting. The predictability and narrative slightness of these stories ultimately work in the film’s favor, as the main characters, Ursa (Lindsay LaVanchy), ninja Kenji (Louis Ozawa), and pilot John Torres (Rick Gonzalez), receive just enough backstory to make them compelling before the Predators enter the scene. Ursa and Kenji’s tales are more somber, similar to Naru’s in Prey, while Torres’s story has more humorous beats, which could have felt like a sharp contrast but ultimately works due to the film’s earned goodwill.

The trio of stories is united thematically by the humans’ ability to outwit the aliens seeking to add to their collections. Predator movies have always been considered slashers where the victims are both capable and helpless, and this theme continues in Killer of Killers. The film takes full advantage of its individual settings to show how the humans come to understand and adapt to the Predators’ tactics, and the solutions they devise to turn the tide of battle are clever. The Predators themselves are a diverse and interesting bunch, with a similar curiosity and mean streak to Prey’s Feral hunter, albeit without the same level of characterization.

From a visual standpoint, Killer of Killers is an impressive film, particularly considering it is the series’ first full foray into animation. The CG/3D art style is reminiscent of Arcane, with animation at a frame rate similar to Ninja Turtles: Mutant Mayhem, giving individual movements a distinct weight. The battle scenes, crafted by 20th Century Animation and Third Floor, are impressive and reminiscent of previous films in the franchise, but with an added flourish and gore. The film’s scale is also noteworthy, making it a shame that it cannot be experienced on the big screen.

The strength of Killer of Killers lies in its individual stories, which make the film


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