^{Credit: 20th Century Studios, Hulu}

At first, the idea of a period Predator picture struck me as odd. After all, when most people think of the franchise, Arnold Schwarzenegger wielding a giant gun comes to mind. The more I thought about this, though, the more it made sense. Dutch went in with a full arsenal. Yet, he’s eventually stripped of those modern weapons, relying on primal instincts to defeat his opponent. Dan Trachtenberg opened my eyes to this with Prey, the best Predator movie since the 1987 classic. Trachtenberg takes this approach further with Predator: Killer of Killers, an animated anthology worthy of comparison to The Animatrix.

Unlike that film, Killer of Killers doesn’t experiment with different animation styles or directors. The film’s overarching style fits the tone, though, channeling Arcane if it were painted with blood. Trachtenberg also makes a case for why he should be given the keys to this franchise. Trachtenberg couldn’t have pulled this off without his co-director, however. Joshua Wassung is a co-founder of The Third Floor, a visual effects company that’s worked in film, games, and theme parks. Killer of Killers marks their first animated feature. They hit the ground running, although it’s not like this studio is starting from square one, getting their feet wet with Marvel, Star Wars, and even RRR.

The film chronicles three stories (technically four, but we’ll get to that). Where Prey took the franchise to 1719, Killer of Killers turns the clock back even further. The first tale opens in 841 with aging Viking Ursa (Lindsay LaVanchy), whose lifetime pursuit of revenge builds to its climax. She makes an even deadlier enemy in the process, however. We then cut to 1609 when a Predator finds itself in the middle of a rivalry between samurai brothers Kenji and Kiyoshi (Louis Ozawa). Actually, it’s the brothers caught in the Predator’s path. The third story sets itself in World War II where eager pilot Torres (Rick Gonzalez) gets his chance to prove himself, going up against an enemy far more dangerous than the ones he was drafted to fight. They’re all worthy opponents, but the fight is just beginning. 

The final act sees the Predators pit the protagonists against each other in a fight spanning centuries. Killer of Killers doesn’t waste too much time over-explaining how this is accomplished. It keeps the exposition simple and motivations relatable, immediately giving us a grasp of who each character is. While they have the Predator in common, this is an unlikely trio, not only because of their cultural backgrounds and time periods, but how they respond to a physical challenge. Torres wants to get every warrior out alive, pushing to collaborate despite the language barriers. Ursa’s impulses scream strike first, ask questions never. The samurai falls somewhere in the middle, once standing alone, but now understanding the power of two (or three in this case).

It’s no surprise that The Third Floor excels in the action. As tightly paced and intense as Killer of Killers is, the animators are equally well-equipped in the atmosphere and visual storytelling departments. The film expands upon the Predator lore, yet never feels overstuffed. It’s a film with a survivor’s instinct, giving us just enough to connect with these characters before plunging us into ultra-violence. The people at the core of the skillfully choreographed combat are what hook us in. It’s a reminder that the most compelling Predator movies usually aren’t about the Predators, but rather, the “killer of killers.”