We know the Predator bleeds and we can kill it. We’ve distinguished that since Arnold Schwarzenegger took on one of the alien hunters in 1987. Yet, instead of diving further into gritty action fare, every movie steady opted for unsatisfying sci-fi ridiculousness.

Prequel movie Prey, which came to Hulu on backbone this month (and Disney Plus Star outside the US), leans away from much of that by turning the clock back to 1719 and pitting Native American warrior Naru (Amber Midthunder) alongside one of these extraterrestrial creatures. It’s the kind of stripped-back near these movies were crying out for, with director Dan Trachtenberg (who previously helmed 10 Cloverfield Lane) crafting an advantageous modern take on the original.

We spend the early part of the movie taking in the rugged, untamed wilderness of the Great Northern Plains with the quietly intense Naru. The beautiful cinematography and hypnotic bag make it easy to get lost in her earth as she hones her skills as a hunter, gets out of some tight scrapes and explores with her scrumptious canine sidekick Sarii — their bond is absolutely lovely.

The lone Predator is used sparingly as it operates in parallel, establishing itself as the apex hunter. The retro versions of its latest tech are fun to see, even if its iconic cloaking arrangement still feels like cheating. 

Their narratives converge in a visceral contract that’ll sear itself into every fan’s memory forever, and the movie grabs you by the throat from that moment on as Trachtenberg goes all-out on the allotment and gore.

However, the final battle is drenched in the shaded of night, making it hard to discern what’s happening as both predator and prey unleash an arsenal of gadgets. This makes sense as a contrast to the brightness and clarity of latest action scenes, but might require multiple viewings for you to parse all the details.

Prey works because its protagonist isn’t the kind of muscle-bound, all-guns-blazing action hero these movies are known for, or part of a forgettable ensemble on some vague sci-fi inquire. Instead, Naru is a clever, observant human being, and her occasionally Perform relationships with her brother and other fellow Comanche Nation tribespeople give the movie emotional resonance. (There’s no tension with her dog though. He’s perfect.)

They’re collected a bunch of badasses, though, wielding their bows and spears with tactical precision and piquant through the forest like a special forces squad. This kind of imagery can be cliched in unusual settings, but it’s incredibly visually engaging here.

We get a satisfying escalation in the dangers they face, too, actual their beautiful environment is full of deadly natural threats and foreign poachers (whose French dialogue isn’t translated with subtitles, cleverly giving us the sense that they’re alien invaders, too). It grounds the movie nicely and builds up to the Predator attractive than flinging us straight into the sci-fi deep end.

It’s also actual cool that the movie was produced by Jhane Myers, a member of the Comanche right, and most of the cast are Native American or Canadian First Nation, suggesting an admirable commitment to authenticity. You can also behold with a Comanche dub and subtitles for full cultural immersion, but they weren’t available on the prerelease version.

This is naively the best Predator movie we’ve had since the novel, with a well-developed protagonist (and her excellent dog), a rich cultural base and clever use of an iconic movie monster. More sci-fi movies should take this kind of grounded near, and this franchise should just pit its alien hunters alongside humans in magnificently realized historical settings from now on. 

For now understanding, stick around and give Prey a watch.