The exciting triptych of filmmaker Dan Trachtenberg's "Preat: Killer" not only expands its named hunting or hunting series, but is a bigger trend, while Hollywood Studios uses animation to expand known known properties to expand the visibility of a mature audience.

Last year, Warner released The War of The Rohirrim in the theater, while Netflix made its debut in the Terminator Zero series, both produced in Japan. Disney commissioned different animation studios from around the world to provide their power and dark side with the "Star Wars: Vision" anthology. Obviously, the purpose is to appeal to many young people who enjoy animated shows, while the R-rated “Prector: Killer Killer” is still biased towards older people and still tends toward violence.

If Trachtenberg's name sounds familiar, it may be because he also oversees previous live-action screenshots from the "Predator" universe, an Emmy-winning "Preat" in which a Comanche woman faces the aired hunter. Helmer shares the roles with Joshua Wassung here, both working in the script of Micho Robert Rutare, whose narrative tends to pursue their skills with a good idea of ​​the desire of the predator (a sadistic alien race) who desires to murder weak creatures and often travel to Earth in search of the best human opponents to pursue their skills.

Decapitation, crushed skulls, dismembered corpses and various clear stories of massacre, each separated by centuries and with solemn high risk. There are also comic reliefs throughout the process (mainly in the last chapter), but the overall mood is the resentment of human characters irritating, and when a larger foreign threat occurs, the human characters gradually disappear. The title “Killer Killer” refers to the status that predators seek. They want to be the spire and absolute culmination of the food chain.

The intense violence and a large amount of blood spilled on display benefited greatly. Blood may feel too weird to shoot in live action with makeup and prosthetics, and may be unbearable for some viewers. But in the animation, the massacre is still cruel, but not very realistic. Despite being created using computer animation (which can mimic anything today), the “killer” look is a stylized, almost illustrative, and intentionally lacks liquidity in some scenarios. Graphic aesthetics seems to be particularly evident in effects such as explosions or fires and in the way shadows and light interact with characters. This approach differs in effectiveness, but has a more formal and attractive visual effect than most American animation projects.

Revenge hungry Ursa (Lindsay Lavanchy) is a 9th-century Viking warrior and mother whose childhood trauma haunts her, and as she follows a lifelong enemy, initiates an independent parade of limbs and reveals her internal organs. But when the predator emerged, her focus turned to protecting her teenage son Anders (Damian Haas) (image distortion declared their existence, although they were technically invisible). The battle between Ursa and the alien invaders, who can use more complex weapons, whose body mass casts her on the shadow, not only testing the body's abilities, but also testing Nordic landscapes with her acuity as the backdrop.

Most of the dialogue-free chapters are headed to 17th-century Japan and found two samurai brothers quarreling over unresolved wounds caused when they were young. The two must pause their resentment match and barely join forces to defeat the Predators. The blades of their swords clashed in confrontation, from careful orchestration to chaos as they came in from alien barges. This section uses color-coded blood in particular, which enhances the tension in the story: the green scattered by predators.

Finally, during World War II, the young Latino Air Force mechanic Rick Gonzalez was eager to become a pilot and had a chance to fly when the spacecraft wiped off a comrade in the air. Inexperienced but brave fighter jets operated in the sky and discovered the weaknesses of alien technology. The impressive action kit on the plane contrasts sharply with the underwater combat and agility tandem of the first two sections, showing the breadth of the animation and background artists’ work.

The ferocious threes from different periods and latitudes eventually gathered together and waved their weapons from their respective "tribes". Like "Pret", the creators here aim to fold characters from different genders and racial/ethnic backgrounds into legends of "Pret" and there are several elements that connect "Killer's Killer" to the larger storylines for decades. Because the three parts that make up the film are envisioned by the same team, even if Torres enters the frame, this tone will loosen, and there is a theme and visual integration. Satisfied, emotionally satisfying, the creepy anthology continues to advocate animation as a versatile and viable storytelling tool for all genres.