Shane Black proves a semi-charmed remedy for the wavering outer space slasher franchise in The Predator, ushering in a new era of the horror-tinged sci-fi action with gutsy enthusiasm and immature brio. A neck-break pace and trademark jet Black humor define this goofy, giddy motion picture about blood-thirsty invaders from outer space come to an American small town right out of a John Mellencamp song. The fourth (or sixth if you count the dreadful Alien cross-over events) installment in the Rastafarian space slayer series manages no shortage of missteps – waddling into the three-pronged crosshair of some hot topic controversy along the way – but comes out the other side as a buoyant, bloody joyride of cinematic ridiculousness that revels in its throwback homaging of the excesses of the 1980s. Read More