It goes without saying I didn’t particularly like the firsr trailer for Shane Black’s The Predator.
It played a bit too much like AVP: Requiem (which is insult enough) but for some reason felt the need to imply some kid somehow gained the ability to control a Predator space craft, which one-upped the former movie as far as really bad ideas go.
Which is weird because this most recent entry in the franchise was directed by Shane Black and written by him and Fred Dekker (Night of the Creeps, Monster Squad, Robocop 3), so at the very least we could have expected a clever story.
‘…ultimate Predator!?’ Wasn’t this terrain covered in 2010’s Predators (though to be fair it wasn’t done particularly well so I wouldn’t mind another visit to that particular space)?
Alec Gillis and Tom Woodruff, of Amalgamated Dynamics, Inc. (ADI) aren’t names that most people are familiar with, though if you have seen Alien, Predator, The Thing (2011), Monster Squad, Mortal Combat, The Fly, The Fly II among many, many others, then you are more familiar with their work than you think.
Despite such a pedigree, the film industry have for quite a few years been moving toward computer-generated images (CGI) instead of practical effects, like animatronics and models. A problem that accompanies CGI is that they are put into images after the film is shot. This means that the actors, when working with computer-generated images, are often performing against a stand-in (which is sometimes a tennis ball on a pole) because the actors need to have something to focus their attention on.
So, if you’re watching a movie like Transformers or The Hobbit: The Desolation of Smaug and wonder what the actors are acting against when Smaug makes an appearance, it’s often not much at all.