Predators may not be original, but it proves most exciting as it follows in the wake of the Alien vs. Predator franchise. With frequent twists and engaging set-pieces, the entertainment value kicks into a whole new gear.

From the moment that hardened soldier Royce (Adrien Brody) is seen falling to the ground without his parachute open to the surprise finale, Predators consistently entertains. And so it goes for the first twenty minutes or so as Royce joins up with seven other people with assorted skill sets. This group includes drug cartel enforcer Cuchillo (Danny Trejo), Dr. Edwin (Topher Grace) and Isabelle (Alice Braga). No one knows how they got there or how to get out, but they soon realize they are the “chosen” ones, the hunted species in a “game preserve” where alien warriors are stalking them. These formidable creatures have one advantage over their human prey, a cloaking device which makes them invisible.

Arnold Schwarzenegger survived the very same apparition back in 1987. Times have moved on and so have the visual effects. In this area alone, Predators takes the place of the original John McTiernan enterprise. Director Nimrod Antal’s imagining of the alien planet feels different from any environment we have seen before. The production design never overwhelms the characters as in so many science-fiction horrors. Yet, Antal refuses to rely on effects as a singular technique. His sense for casting the right character actors in this ensemble piece happens to be most noteworthy.     

Adrien Brody, who shot to fame with his Oscar-winning performance in The Pianist (2002), provides considerable gravitas as a no-nonsense man of war. Behind his stony visage, one gets the impression that he has seen his fair share of horror in the death zone and has even come close to a sticky end on more than one occasion.  Alice Braga is nicely convincing as the only female in the picture, a crack shot with a sniper’s rifle.  As the brave Yakuza warrior Hanzo, the lesser known Louis Ozawa Changchien proves to be most effective.

The picture moves at a fair click.  Dan Zimmerman edits with authority, always with his eye on the clock which is probably why I never looked at my watch once.  Composer John Debney hasn’t altered the melodic structures made famous by Alan Silvestri. The main theme, certain incidental cues and the recurring drum beat are unique tonal colours requiring no need for change. Therefore, the integrity of the score remains intact.

The film delivers more thrills per second than all the Alien films combined. Beyond that, some striking performances and memorable set-pieces fill in the gaps. The level of suspense proves quite high with many well conceived twists and an inbuilt engine set to the “rollercoaster” option. It’s fair to say you won’t be bored watching this one.

(Released by Twentieth Century Fox Film Corporation and rated "R" for strong creature violence and gore, and pervasive language.)