Killer of Killers,” created by filmmaker Dan Trachtenberg, takes the hunt-or-be-hunted series a step further. It’s part of a growing tendency in Hollywood where animation is used to explore established franchises that cater to mature audiences.
In 2021, Warner Bros. premiered “The Lord of the Rings: The War of the Rohirrim” in cinemas, and Netflix launched “Terminator Zero,” a series produced in Japan, both on their platforms. Disney collaborated with various international animation studios to produce “Star Wars: Visions,” an anthology showcasing diverse perspectives on the Force and the Dark Side, catering to the action-packed animated series fans among young adults. Conversely, the mature audience is targeted by the R-rated film “Predator: Killer of Killers” due to its graphic violence.
If Trachtenberg’s name sounds vaguely familiar, it might be due to his previous work on the live-action “Predator” series, specifically the Emmy-winning film “Prey,” where a Comanche woman battled the extraterrestrial hunters. Here, Trachtenberg collaborates with Joshua Wassung as co-directors, working from a script by Micho Robert Rutare. Rutare’s stories often explore the idea that the Predators, an aggressive alien species, enjoy hunting weaker beings and frequently visit Earth to find worthy human opponents to improve their skills.
Violent scenes such as beheadings, shattered heads, dismembered bodies, and graphic brutality color the tales, each set in different eras. A touch of humor is interspersed at key moments, particularly towards the end, but the dominant emotion among the characters is a simmering anger that gives way when a greater, alien menace arises. The title, “Killer of Killers,” signifies the ambition of the predators – they aspire to be the ultimate hunters, the supreme beings at the top of the food chain.
The stories are full of violent acts like beheadings and dismemberment, but there’s also some humor here and there. The characters often feel angry, especially towards each other, but this changes when a bigger, unknown threat appears. The title “Killer of Killers” means the predators want to be the most powerful hunters at the top of the food chain.
In the animated series “Killer of Killer,” the graphic violence and abundant bloodshed are effectively portrayed, arguably less disturbing than it might be in live-action due to the use of makeup and prosthetics. The animation style allows for a more stylized, almost comic-book-like appearance, with certain movements deliberately appearing jerky or unnatural. This aesthetic is particularly evident in scenes featuring explosions, fires, or interactions between light and shadow. Compared to many American animated productions, the visuals are more artistically engaging.
In a quest for vengeance, Lindsay LaVanchy’s character, Ursa – a 9th-century Viking warrior and mother tormented by past traumas – begins a bloody rampage against an age-old adversary. However, her mission takes an unexpected turn when a Predator, though invisible to the naked eye, appears, signaled only by image distortions. With her son Anders (Damien Haas) in danger, Ursa engages in a fierce battle with this alien intruder, who wields advanced weaponry and is far larger than she. This struggle not only tests Ursa’s physical strength but also her intellect, all set against the breathtaking backdrop of a Nordic landscape.
In this second chapter, we journey back to 17th-century Japan where two estranged samurai brothers are locked in a bitter feud stemming from past injuries sustained during their youth. However, an unexpected enemy, identified as a Predator, forces them to put aside their differences and work together to save their land. Their swords cross in a battle that transitions from gracefully orchestrated to chaotic as the intruding alien makes its entrance. Notably, this segment employs an intelligent color-coding system for blood, with the Predators bleeding green, intensifying the narrative’s suspense.
Eventually, Rick Gonzalez’s character, Torres – a young, aspiring Latino Air Force mechanic during World War II with dreams of becoming a pilot – gets his opportunity to take flight when an extraterrestrial spaceship destroys a group of his fellow airmen. Navigating the skies, this greenhorn yet fearless fighter identifies a vulnerability in the alien tech. The thrilling aerial sequences featuring Torres on the plane serve as a stark contrast to the underwater battles and nimble duo of the initial two segments, highlighting the diversity and skill of the animation and background artists.
In this new adventure, a powerful trio from diverse eras and locations unite for an epic clash reminiscent of ancient Roman gladiator combat, each armed with weapons symbolizing their unique cultures. Similar to the movie “Prey,” the filmmakers strive to incorporate characters representing various genders and ethnicities into the Predator universe. “Killer of Killers” shares some connections with the broader narrative that spans over several decades. Since all three sections were conceptualized by the same creative team, there’s a consistent thematic and visual flow, although the tone becomes less intense when Torres appears on screen. Despite leaving some questions unanswered, the thrilling anthology underscores the flexibility and potential of animation as a compelling storytelling tool for all genres.
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2025-06-06 06:16