In the near-future year of 1997, Los Angeles is choking under perpetual smog, and its streets are a war-zone.
Sunday, October 30, 2016
Halloween Blogging: Predator 2 (1990)
The opening shot of Predator 2 (1990) is a remarkable one.
Director Stephen Hopkins’ camera rockets over a dense jungle landscape, thus reminding audiences of the 1987 John McTiernan film and its Central American locale.
Then -- as the camera continues to speed over myriad tree tops -- it pans up to reveal…modern Los Angeles, the urban jungle, on the horizon.
This composition is a great visual way to connect the two films in the franchise, and a sure sign that Hopkins boasts an active intellect and more to the point, a great eye.
It’s as if the last moments of Predator have become, literally, the first moments of Predator 2.
Predator 2 is also appreciated by many horror movie fans because it provides the first cinematic evidence of a “shared” universe with another beloved franchise: Alien (1979).
During the climax of this sequel cop/warrior Mike Harrigan (Danny Glover) finds his way aboard a grounded Predator spaceship and sees a trophy room that boasts a Giger-style alien skull.
At first blush this might seem like a throwaway moment, but, certainly, it paves the way for the Alien vs. Predator movies of the 2000s. Already, Dark Horse had seen success by pairing the two monsters in a comic series, but Predator 2 is the first such evidence of a shared universe on the silver screen.
Whether that’s a good thing or not, I’ll leave up to you, the reader, but Predator 2 intimates a shared history between two great movie monsters in a way that isn’t entirely obvious or craven (like, say, Freddy’s finger knives dragging Jason’s hockey mask down to Hell.)
Instead, the reveal of the alien skull in Predator 2 is an awesome moment that expands significantly both franchises.We now know that Predators have defeated the acid-dripping, silver-jawed monstrosities, and likewise that those monstrosities have been around since well before Ripley’s first encounter with them. This moment in the film thus succeeds in the manner that was intended. It tantalizes us with possibilities, and with a history/relationship we don’t fully understand...but can imagine.
This sequel also shares much with another science fiction film of 1990: RoboCop 2.
For example, both Predator 2 and RoboCop 2 feature moments that suggest the tabloidization of American news, the rise of such fare as Inside Edition or A Current Affair. Both films also worry about runaway crime rates in America at the time, and obsess on the notion of our streets becoming the battleground for drug and gang wars.
And both films -- truly -- are anarchic in visualization, graphic violence and tone, suggesting that the near future will be a time of visceral, bloody horror, sensational news and beleaguered infrastructure.
In both films, the cops can barely hold their own.
Predator 2 never quite reaches the provocative and anarchic highs or lows of RoboCop 2 but -- to its ever-lasting credit -- the Hopkins sequel is more than willing to acknowledge the humor inherent in its central scenario.
At one point, the hulking Predator ends up in the bathroom of a cranky old woman, and at another juncture attacks a busload of commuters (including a Bernard Goetz character…) simply because they are all armed.
This scene may represent the best argument for gun control ever put to genre film: Don’t carry a weapon on your way to work, because the Predator -- while on safari -- interprets all gun-owners as “soldiers” and wipes them out with extreme prejudice. Seriously, this film imagines Bernard Goetz-vigilantism as the norm of 1997, and it's a commentary right in line with the imaginings of the RoboCop films.
I admire many aspects of Predator 2 and consider it a worthwhile sequel overall, yet I don’t see it necessarily as an equal to its predecessor in terms of suspense and storytelling. The movie occasionally suffers a bad case of Alien-itis too: cribbing too liberally from 20th Century Fox’s other space monster franchise.
That tendency doesn’t help the film to cement its own individual identity, and works against the director's best efforts.
In the near-future year of 1997, Los Angeles is choking under perpetual smog, and its streets are a war-zone.
There, rival gangs -- the Jamaicans and the Colombians -- duke it out for superiority. One of the city’s best cops, Mike Harrigan (Glover) attempts to bring order to the streets, but soon finds that a third, chaotic element has been added to the summertime bloodshed.
In particular, a stealthy alien hunter or predator has arrived in L.A. and begun picking off gang members, as well as cops like Harrigan’s trusted friend, Danny (Ruben Blades).
When a federal agent, Keyes (Gary Busey) begins interfering in his investigation, Harrigan suspects a dark secret.
He soon comes face to face with the intimidating alien hunter, and learns that Keyes and his men are planning to capture it…
“There’s a new king in the streets.”
When I think back on Predator, which I reviewed last week on the blog, the images that stay with me, in particular, come from the last third of the picture. There, Arnold’s character, Dutch went up against the Predator with no advanced technology in a primordial jungle, and won.
The battle could have occurred in prehistoric times.
Obviously, a sequel to Predator couldn’t plumb the identical imagery or locale, or even concept, and so Predator 2 tries hard to carve an original space for itself. The sequel notes, for example, that in the 1990s, “cops” are the warriors of civilization, fighting back criminals on the streets and protecting an endangered populace.
This is a valid concept, and also feels very much of the epoch. If you gaze at the 1990s, and consider series such as Law and Order (1990 – 2010), or movies such as The First Power (1990), Fallen (1998), Resurrection (1999) or End of Days (1999) it’s not difficult to see how the police procedural format became incredibly popular, and dominated genre entertainment.
Predator 2 fits in with that trend, and Danny Glover makes for a very different kind of “soldier” than Arnie did. Both men are fiercely protective of their teams, but Harrigan is -- living up to his name: “harried” -- forced to accommodate multiple levels of hierarchy and bureaucracy in a fashion that Dutch simply did not. Dutch eventually had to deal with Dillon’s duplicity (as Harrigan deals with Keyes’ secrecy and cover story), but Harrigan is more constrained from the get-go based on his job, his heavily populated “arena” of battle, and other factors of late 20th century human civilization..
One way to gaze at the Predator franchise is simply as a study of soldiers, an examination of the qualities that go into the making of a good one. Predator, Predator 2, and Predators (2010) have different things to tell audiences on that topic, and all the observations are intriguing. Certainly, Predator suggests that good or advanced weapons don’t make for the best soldiers.
Predator 2 seems to suggest that a good soldier succeeds by overcoming not his enemy, but those unofficial enemies who make his task more difficult. Harrigan must contend with the presence of innocent civilians, bureaucrats, and infrastructural impediments on his mission to stop the alien hunter. Meanwhile, Predators seems to suggest that real soldiers are a breed apart, and that breed seems to span all cultures.
The downside to Predator 2’s approach is simply that as soon as you have a rampaging alien creature in familiar, city environs, some moments there are going to read as…funny. You can’t play on the feelings of isolation that you might in the jungle setting.
So when a Predator crashes through a bathroom wall here and nearly runs into an old woman brandishing a broom, you’re in a whole different kind of territory. The last act of the film suffers from a tonal ping-pong between action, comedy, and horror. I prefer the back-to-basics, straight-on approach of Predator’s finale in the jungle. It’s more pure, somehow; more consistent.
Predator 2, at times, seems to verge on camp. If the film featured a more pronounced, consistent social commentary (as is clearly the case in the gonzo-crazy RoboCop 2), the tone-changes in Predator 2 might have tracked better. I like Gary Busey just fine, but his presence -- and line readings -- ratchet up the tongue-in-cheek aspects of the film.
Lions, and tigers and bears. Oh my.
In the introduction, I also noted creeping Alien clichés in this film. There’s one scene here in which right-thinking Harrigan watches on a row of high-tech monitors as wrong-thinking Keyes leads an ill-fated attack against the Predator. The Predator decimates the team, and Harrigan -- tired of being on the sidelines -- steps up to save the day, or win the battle.
This scene is an exact mirror of a scene in Cameron’s Aliens (1986). There, Ripley watches on a row of monitors as the Colonial Marines get their asses kicked on Sub Level 3. She must take action herself, because she is right, and Lt. Gorman is so clearly wrong.
There's even a similar deer-in-the-headlights moment in Predator 2 for one Gorman surrogate, Garber (Adam Baldwin).
Similarly, Harrigan appropriates a Ripley-ish line from Alien, while talking to Keyes. “You admire the son of a bitch,” he realizes.
This is also what Ripley realized vis-à-vis Ash and the xenomorph in the Ridley Scott 1979 original
It’s just baffling that a film seeking so aggressively to artistically break free from its successful predecessor would mindlessly ape another film series at the same. These moments are transparently derivative, and undo some of the creative success Hopkins achieves with this sequel.
Still, I appreciate the final revelations of Predator 2. These moments prove chilling. One of the final scenes, inside the spaceship, features not only an alien skull, but evidence that the Predators have been interacting with humans for a very, very long time indeed. They have been here, are here now, and will return soon.
That’s a creepy thought, and I love how the old Predator leader demonstrates grudging respect for Harrigan, his prey, by gifting him a gun from the 1700s…a souvenir emblematic of their differences, and shared history.
Writing for The Washington Post, review Rita Kempley wrote persuasively of Predator 2’s “dismal irony” and “brooding fatalism” (November 21, 1990).
I like those qualities too, and I enjoy this sequel quite a bit. I’ll take it over AVP: Requiem (2007) or Alien Resurrection (1997) any day. Predator 2 doesn’t scuttle its franchise, and in some ways it expands the cycle's reach in a wonderful, creative way.
And yet the tonal lapses into comedy and rip-off territory prevent Predator 2 from being a truly great sequel to one of the best action-horror films of the eighties.
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