The casting of a sex offender led to even more haphazard editing in a movie overstuffed with bad trims.
At one point in the film, Brown, who plays a government agent named Will Traeger, enters a mysterious structure, which just might be of alien origin. As he first steps inside, you can see his eyes, but a few seconds later, the next time we see him onscreen, he’s wearing sunglasses. It feels like the setup for a payoff that never comes.
Does he know there’s going to be a bright light in here? you might ask, or Does he know the Predator won’t kill someone in shades? But, no, he’s mostly just wearing sunglasses, and it’s neither clear where he got them nor when he put them on.
Obviously, I can fill in the gaps between shots for how Will pulled sunglasses out of his pocket and put them on while the camera was focused on something else. A movie doesn’t need to hold the audience’s hand every step of the way, especially when it comes to something so mundane.
Nonetheless, the moment stuck in my craw just a little bit, because it exemplifies, I think, where The Predator goes wrong. I love Black’s other films (which include the effervescent Kiss Kiss Bang Bang and the hugely underrated Iron Man 3), and he’s perhaps the best writer in Hollywood at capturing the way guys wish they talked when they’re casually busting each other’s balls.
But The Predator escapes