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PREDATOR: BADLANDS Review

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PREDATOR: BADLANDS Review
(BBB, C, VV, M):

Dominant Worldview and Other Worldview Content/Elements:

Very strong moral worldview, with some redemptive qualities, teaches that protecting the weak elevates and ennobles the soul, and aids in one’s survival and defeat of evil, and the movie also promotes compassion, empathy, helping others, and equipping the weak to survive, but two parental figures in the movie are evil and heartless, but the hero tries to appease his evil father and gain his approval, despite his father’s rejection;

Foul Language:

No foul language;

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Violence:

Strong and light, sometimes scary, violence such as predator alien murders his older son because he refuses to kill his younger and weaker brother (the Predator society is based on Spartan-type values regarding hunting and war), evil father tries to kill the other son but the older brother pre-prepared his spaceship to take the younger brother to another planet to earn their clan’s hunting initiation status, younger brother crash lands and fights off vicious vines, younger brother finds human female android who helps him survive the planet’s dangers, she helps him survive plant seeds that explode and put other creatures to sleep before eating them, she helps him kill a large alien animal for food, they have to survive grass that’s sharp as knives, they discover and eventually befriend a small creature who helps them in the hunt, younger brother fights large alien creature with rows of vicious-looking teeth and an ability to regenerate in hopes of capturing said creature and earning him the right to become a respected member of his clan, younger brother and female android battle evil heartless androids of large corporation that wants to use the younger brother to develop weapons and other useful items for people and wants to do the same thing with the large alien creature and its regeneration abilities he’s hunting, a big fighting sequence occurs near the movie’s end, followed by another life and death fight, and android robot bodies are smashed or torn apart or beheaded, characters are impaled or partially exploded using small fiery worm creatures;

Sex:

No sex;

Nudity:

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No nudity;

Alcohol Use:

No alcohol use;

Smoking and/or Drug Use and Abuse:

No smoking or drugs (evil android puts good android to sleep by turning her off); and,

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Miscellaneous Immorality:

A humanoid alien creature, the Predator in the movie title, has a disagreement with his evil father but he hopes to earn his father’s respect by hunting and capturing a large, awesome alien creature, but the evil father has decided that both his younger and elder son are too weak to survive, so can his mind be changed?

PREDATOR: BADLANDS is a rousing science fiction thriller about a humanoid alien who tries to appease his evil father and gain his approval by hunting a large apex predator on an extremely dangerous planet but needs the help of a female android and a small monkey-like creature when they encounter a group of heartless evil androids. PREDATOR: BADLANDS is a terrific, exciting movie that teaches protecting and equipping the weak and that promote compassion, empathy and helping others to overcome evil, but the movie has lots of strong, intense action violence, scary moments and some scary characters and creatures.

The movie opens with a brief written preface about the Predator race of aliens called the Yautja. The primary goal of these aliens is to hunt, and they hunt alone.

Cut to their home planet. Kwei is the larger older brother of Dek. Dek, the movie’s central character, is the runt of the litter in a clan that removes any sign of weakness. The Yautja think one weak link breaks the chain. Sadly, for Dek, that means he’s subjected to not just being ousted from the clan but being killed.

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Kwei and Dek are arguing about Dek’s situation in Kwei’s spaceship. Unexpectedly, Kwei sympathizes with Dek, but warns him that his chances don’t look good, especially since their father already has rejected Dek. Dek chooses a lethal planet called Genna as his hunting ground. He also decides that, to gain their father’s approval and elevate his status, he will hunt a large and allegedly unkillable apex predator called the Kalisk. Kwei is not happy about that. He thinks the Kalisk will kill Dek because Dek is too weak. Dek replies, that, if he dies, which probably is likely, at least he will die with honor.

At that point, their gray-haired father appears. He’s angry and asks why Kwei didn’t kill Dek as he ordered to do. Kwei defies his heartless father. So, their father decides Kwei too must die because to forgive weakness is itself a sign of weakness. So, he tries to kill Kwei, but Kwei defends himself.

Meanwhile, Dek tries to help his brother, but Kwei shoves Dek back into his spaceship and closes the door on him. So, Dek watches helplessly from the ship while Kwei fights his father. Eventually, the father fatally wounds Kwei by thrusting his flaming sword through Kwei’s chest from behind. With his dying breath, Kwei activates his ship to send Dek to Genna.

Dek is knocked out by the spaceship’s sudden movement, and he wakes up on Genna. Immediately on exiting the ship, Dek encounters deadly brown vines that swing form the trees and try to kill and eat him. He fends them off with his blade and guns. A strange monkey-looking creature watches the fight and bonds with Dek. The creature is able to escape the vines by swinging through the trees, but he seems to help Dek fight them.

After fighting off the vines, Dek and the creature come to a clearing. They face new dangers, but get help from a damaged human-looking android, a female named Thia. Thia activates her translator and is able to understand Dek while he can understand her English. Her torso was severed from her robotic legs when she and her android companion, Tessa, encountered a Kalisk. She offers to take Dek to the creature’s lair if Dek will help her get back to Tessa, who disappeared during their fight with the creature. When Dek says he only hunts alone, Thia proposes that he think of her as a tool.

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Dek agrees. So, with that, Dek and Thia establish a partnership, and the monkey creature, whom Thia names Bud, accompanies them.

Of course, getting to the Kalisk’s lair and capturing, or even killing the Kalisk is a very difficult proposition. Complications ensue when they come upon Thia’s twin android, Tessa. Thia’s twin decides that she and the androids under her leadership should serve the evil corporation that brought her and Thia to Genna. That means capturing the Kalisk and imprisoning Dek to take both of them to Earth for the company’s experiments and technology creation, including weapons creation.*

The odds are stacked against Dek, Thia and Bud. Will they survive and remain free?

PREDATOR: BADLANDS is a terrific science fiction thriller. It has excitement, thrills, heroic deeds, and lots of heart. Thia teaches Dek to be compassionate and empathetic. Meanwhile, the evil androids, including Tessa, are heartless automatons with not an ounce of sympathy. This conflict provides a marvelous, exhilarating contrast of good versus evil. Also, PREDATOR: BADLANDS has no foul or crude language and no explicit lewd or obscene content.

However, the movie does have lots of strong, action violence, scary moments, and scary creatures. The camera often cuts away from the more gruesome acts of violence, but it does show things like the father’s fiery blade exiting the older brother’s chest. Also, the good guys smash, crush, impale, and behead some of the heartless evil androids. Moreover, the predatory Yautja aliens are scary looking, as are the killer vines and the giant Kalisk monster. For instance, the Yautja have four large menacing teeth on the outside of their mouths, and the Kalisk has rows of scary teeth in its mouth plus a large scary dinosaur-like tail.

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In addition, PREDATOR: BADLANDS shows that Dek and Kwei’s father is an evil alien who wants to kill his sons because they’ve disappointed him. Also, the computer program that the evil androids use is named MUTHR, like in the original ALIEN movie.* Thus, the movie’s two parental figures are evil and negative. So much for “honor thy father and mother.”

That said, PREDATOR: BADLANDS has a very strong moral worldview with some redemptive qualities. The movie teaches that protecting and equipping the weak ennobles and elevates the soul. It also aids in one’s survival and one’s triumph over evil.

MOVIEGUIDE® advises strong caution for the intense action violence and scary parts, characters and creatures in PREDATOR: BADLANDS.

* The evil corporation in PREDATOR: BADLANDS is the same as the one in the ALIEN movies, which originally ordered a heartless android to retrieve a dangerous alien specimen at the expense of the human crew of a spaceship called The Nostromo. 20th Century Fox, which is now owned by Disney, decided back in the 1990s to merge the ALIEN and PREDATOR franchises. In the ALIEN MOVIES, the company wanted to use the alien species to develop and sell new weapons, including bio-weapons. In PREDATOR: BADLANDS, the corporation also wants to use the large apex predator, the Kalisk’s, regeneration abilities to regenerate human body parts, including human and android soldiers, as part of the company’s medical and pharmaceutical division.

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Movie Reviews

‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

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‘Balaramana Dinagalu’ review: A restrained look at the gangster mind

In K M Chaitanya’s Aa Dinagalu (2007), actor Atul Kulkarni, playing gangster Agni Sreedhar, says man is the biggest weapon in the underworld. “The rest are just properties,” he adds. The yesteryear Kannada crime drama, based on the real incidents from a big chapter of the Bengaluru underworld, stood out for its understated storytelling.

In Balaramana Dinagalu, which has the skeleton of a sequel to Aa Dinagalu, weapons are seen in the first scene. As the film progresses, we encounter an arsenal of knives, razors, machetes, and guns — each an extension of the gangsters’ identities and an indispensable tool in their quest to remain feared and lethal. Chaitanya attempts to make the movie a mix of reality and entertaining tropes.

Balaramana Dinagalu (Kannada)

Director: K M Chaitanya

Cast: Vinod Prabhakar, Priya Anand, Atul Kulkarni, Ashish Vidyarthi, Ramesh Indira

Runtime: 151 minutes

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Storyline: Balarama, an ordinary young man from a remote village in Karnataka, becomes a dreaded gangster who rules Bengaluru

The director has roped in the same cast, who played the dreaded gangster trio of Kotwal Ramachandra (essayed by Sharath Lohitashwa), Jayaraj (Ashish Vidyarthi), and Agni Sreedhar (Atul) in Aa Dinagalu. That’s what makes one instantly curious about Balaramana Dinagalu. The only difference in the latest movie from the previous one is the fictionalised names of the real dons. Jayaraj becomes Jayaram, Sreedhar is Shashidhar, and Muthappa Rai is called Monnappa Rai (played by Ramesh Indira).

Even if these characters are the big draw in the movie, the plot revolves around the journey of Balarama, a character with a small yet significant presence in Aa Dinagalu. Vinod Prabhakar’s portrayal of the titular role is the film’s biggest takeaway. He makes us feel for the character, and is quite impressive in the final portions of the movie, where Balarama struggles to break free from the underworld’s trap.

Balaramana Dinagalu is impressive when it reflects the psychology of a gangster. Jayaram is shown helping the needy while Balarama urges young boys to focus on education. It’s as if these men who commit heinous acts, have a heart as well. Shashidhar is often called “intellectual gangster”, as the film reflects how the underworld fears well-read men in the field. Politicians and policemen, the supposedly the protectors of people being part of the crime nexus, strengthen the movie’s world-building.

The film falters in its inability to rise above the plot’s predictability. Balarama’s journey is no different from the often-seen life of an innocent man from a small town who becomes a gangster owing to uncontrollable circumstances. I wish the film had delved a bit more into Balaram’s personality. Why does he not resist becoming a gangster? What dreams did he have when he moved to Bengaluru from a small town?

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“My hands speak louder than my words,” says Balarama. This signals that he is someone who settles conflicts with fists rather than conversations. Despite this detail, Balaram’s entry into the underworld feels too sudden. The predictability strips the sheen away from the well-shot action sequences, as the result of every fight is known beforehand.

Chaitanya is careful not to glorify the act of violence. He wants to portray the negative effects of violence on the children in a family, as the movie ends with a hard-hitting frame. It’s impressive that the actor-director duo has delivered a non-hero-worshipping gangster saga.

That said, the movie could have benefited from a couple of gripping episodes. While it’s important not to romanticise the life of a gangster, there is no harm in delivering moments of peak tension, the biggest plus of the genre. 

The assassination of Jayaram, the impact of Kotwal’s elimination on the underworld, or the Sakleshpura incident involving Monnappa Rai, had the potential to offer edge-of-the-seat, high-stakes portions, but they are rushed. The love story is simple, but it lacks emotional intensity between the lead couple. Santhosh Narayanan’s dance numbers are forgettable (despite it being his forte) while his montage melodies are beautiful.

Balaramana Dinagalu adopts a restrained, almost clinical approach to the gangster genre. While that keeps it from glorifying violence, it also leaves the narrative feeling a touch too neat and emotionally muted.

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Balaramana Dinagalu is currently running in theatres

Published – June 28, 2026 07:58 pm IST

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Movie Reviews

A New Dawn Anime Film Review

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A New Dawn Anime Film Review

Perhaps there’s a certain irony in a story about a fireworks factory mostly keeping away from explosive drama. Yoshitoshi Shinomiya‘s lowkey feature directorial debut A New Dawn is at the very least visually captivating, comprised of lush and rather hypnotic production design. The story is small scale focusing on a trio of friends who try to save a fireworks factory in their hometown, but the imagery feels expansive and lush. A New Dawn begins with a beautiful and vaguely familiar display of this beauty: the flowing, painterly imagery of its opening sequence recalls Shinomiya’s work on the flashback sequence in Makoto Shinkai‘s your name., immediately showing that the film’s visuals might transcend its small town drama.

A background artist himself on films by Makoto Shinkai as well as the similarly resplendent Pompo: The Cinéphile, it makes sense that this history would be felt in the background works of A New Dawn. They’re dense with detail, rich with almost luminous color and illustrative texture. Shinomiya, who also wrote and storyboarded the film, veers away from the photorealism associated with someone like Shinkai through some impressionist touches – like the splotches of green paint which represent treelines – which sometimes turns into outright abstraction like when a character begins to run through the space. Sometimes there are swaying, morphing textures in the background as splotches of paint subtly shift around. On a more intimate level, the cluttered and characterful interior spaces tell a story too. This is a long-winded way of saying A New Dawn looks really, really good.

It’s not just in the tableaux of its countryside habitats and ramshackle living spaces carved out of abandoned warehouses, but there’s a sense of invention permeating through A New Dawn‘s various experiments with visual languages of animation. The most prominent is an incredibly charming stop motion animated sequence using a cardboard diorama and real human hands invading the shot in a creative reflection of a drunken character’s perspective. Even though it broadly still looks “anime” through its character design, there are also smaller details which work to set A New Dawn apart from its contemporaries, touches like its occasional lineless artwork or the way rain is defined through smudged black brushstrokes.

It’s in the screenwriting where A New Dawn begins to feel more run of the mill. Its story about the constant chasing of the majesty of a fabled firework “Shuhari” feels both familiar in its premise but also a little bit alienating in its structure. The importance of the firework itself never feels clear – the moment its mystery is unravelled hardly feels like a revelation as a result, something amplified by how the writing often obfuscates what anyone is talking about. The whole story feels a little distancing, and despite the allure of the background art and design of the spaces the characters inhabit, the people themselves feel constantly at arms length.

It almost pulls things back with its climax – the detonation of the “Shuhari” goes a long way in justifying the circular conversations about its nature and origins – a painted streak of light launches into the sky before turning into something otherworldly, suddenly tripling down on the film’s captivating exaggerations.

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411

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Hollywood Pariah Kevin Spacey Opens in a Straight to Video Movie with 25 Producers, 1 Review, No Theaters, No Press – Showbiz411
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As we know, Kevin Spacey is a pariah in Hollywood.

He’s in a rare club with Mel Gibson, Armie Hammer, Nate Parker, Jonathan Majors, and James Franco.

Spacey has managed to avoid jail time by reaching settlements with various accusers of sexual malfeasance, all men.

His film career — which included two Oscars and a Tony Award — has been destroyed.

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Spacey has been reduced to appearing in straight to video films, made for whatever reason the various producers involved know only to themselves.

On Friday, a new Spacey movie surfaced against its will, but not in theaters. It also went straight to video. “1780” is a period piece set during the Revolutionary War. Spacey plays a toothless Pennsylvania country trapper.

There is no rating on Rotten Tomatoes, largely because there is only one review. The review by Alan Ng of Film Threat is positive. Ng recently reviewed “World War Bigfoot,” which he also liked. He seems to specialize in reviewing films no one has heard of.

“1780” does boast 25 producers who will probably not see a return on their investment. But they can say they made a movie with Kevin Spacey.

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