FROM one hunt to the next, each bloody battle across time and space, be it against man or some other form of sentient life across the galaxy, the Yautja relish in their primordial culture of hunting prey they deem equal.
Better known as “the Predator” in pop culture, each wound, feat, kill and trophy collected serves as war medals for a Yautja’s prowess. Like the extraterrestrial apex predators, director Dan Trachtenberg too has claimed another gory, blood-soaked trophy with Predator: Killer of Killers.
Set across different time periods, Killer of Killers opens in the frigid northern oceans, as the mighty Ursa (Lindsay LaVanchy) leads a horde of Viking warriors into the stronghold of the Krivich tribe, seeking to take the head of its leader.
Almost a thousand years later, the ninja Kenji (Louis Ozawa) launches a lone attempt to defeat his brother Kiyoshi, a daimyo, in his castle.
Fast forward several hundred years from then, during World War II, fighter pilot John Torres (Rick Gonzalez) finds his squadron under aerial attack and takes to the skies to fight back against someone he believes is not on either the Allies’ or Axis Powers’ side in the war.
The three storylines eventually converge on a planet that a group of Predators have turned into a coliseum.
