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HISTORY

Predator 2 was a sequel to Predator (1987, see entry), which grossed over $100 million worldwide. The original film took place in a South American jungle in 1987, ten years before the sequel’s timeframe. The only returning actor from the original was seven-foot-two Kevin Peter Hall, who portrayed the title creature. Actress Elpidia Carrillo, who played “Anna,” was listed in the Predator 2 credits, but only because she is briefly seen in a jungle videotape from the first film being viewed by federal agents.
       Principal photography began 20 Feb 1990, according to that day’s HR, and was completed 18 May 1990, the 1 Jun 1990 DV noted. Among its locations was the Great Eastern Building at Broadway and Ninth Street in downtown Los Angeles and Bay Area Rapid Transit (BART) subway cars in San Francisco, which stood in for Los Angeles’s Metropolitan Transportation Authority cars. The 5 Nov 1989 LAT reported that producer Joel Silver was “interested” in hiring Steven Seagal for the film, but he was not involved in the production.
       The 30 May 1990 USA Today estimated the film’s budget between $20 million and $30 million.
       Among the stuntmen was R. David Smith, who had only one arm. He was used for a scene in which the predator fell from a building ledge after its left arm was amputated.
       Despite the 3 Dec 1990 Var announcing a “strong debut of about $12.5 million,” earnings dropped fifty-three percent the second week. The Jan 1991 Box reported that Predator 2 “fell flat” with a “non-monstrous” gross of $23.1 ... More Less

Predator 2 was a sequel to Predator (1987, see entry), which grossed over $100 million worldwide. The original film took place in a South American jungle in 1987, ten years before the sequel’s timeframe. The only returning actor from the original was seven-foot-two Kevin Peter Hall, who portrayed the title creature. Actress Elpidia Carrillo, who played “Anna,” was listed in the Predator 2 credits, but only because she is briefly seen in a jungle videotape from the first film being viewed by federal agents.
       Principal photography began 20 Feb 1990, according to that day’s HR, and was completed 18 May 1990, the 1 Jun 1990 DV noted. Among its locations was the Great Eastern Building at Broadway and Ninth Street in downtown Los Angeles and Bay Area Rapid Transit (BART) subway cars in San Francisco, which stood in for Los Angeles’s Metropolitan Transportation Authority cars. The 5 Nov 1989 LAT reported that producer Joel Silver was “interested” in hiring Steven Seagal for the film, but he was not involved in the production.
       The 30 May 1990 USA Today estimated the film’s budget between $20 million and $30 million.
       Among the stuntmen was R. David Smith, who had only one arm. He was used for a scene in which the predator fell from a building ledge after its left arm was amputated.
       Despite the 3 Dec 1990 Var announcing a “strong debut of about $12.5 million,” earnings dropped fifty-three percent the second week. The Jan 1991 Box reported that Predator 2 “fell flat” with a “non-monstrous” gross of $23.1 million in its first nineteen days of release.
       Credits appear over infrared images whose color corresponds to their temperature, red being hottest. In the opening scene, several shots are viewed through video broadcasts by TV reporters End credits contain the following acknowledgment: “Special thanks to: BART people of San Francisco - Ray Cole.”
       Special sound effects creator John Pospisil is credited onscreen as "John P." The name of Teri Weigel's character, "Colombian girl," is misspelled as "Columbian girl." More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
Jan 1991.
---
Daily Variety
1 Jun 1990
p. 3.
Daily Variety
3 Dec 1990
p. 3.
Daily Variety
4 Dec 1990
p. 4.
Hollywood Reporter
20 Feb 1990.
---
Hollywood Reporter
21 Nov 1990
p. 5, 21.
Los Angeles Times
5 Nov 1989
Calendar, p. 28.
Los Angeles Times
21 Nov 1990
p. 8.
New York Times
21 Nov 1990
p. 17.
The Evening Sun [Baltimore, MD]
19 Nov 1990
Section C, p. 2.
USA Today
30 May 1990
Section D, p. 2.
Variety
26 Nov 1990
p. 57.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A Gordon/Silver/Davis Production
A Stephen Hopkins Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
PRODUCERS
Prod
Co-prod
Co-prod
Assoc prod
Exec prod
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
2d asst cam
Steadicam/"B" cam op
1st asst "B" cam
2d asst "B" cam
Video assist op
Gaffer
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Lighting tech
Elec best boy
Elec best boy
Rigging gaffer
Key grip
Grip best boy
Dolly grip
Still photog
ART DIRECTORS
Art dir
Illustrator
Storyboard artist
FILM EDITORS
Film ed
1st asst ed
1st asst ed
1st asst ed
Asst ed/Visual eff
Asst ed
Asst ed
Negative cutter
SET DECORATORS
Set dec
Set des
Set des
Set des
Set des
Prop master
Asst props
Arms specialist
Const coord
Const foreman
Propmaker foreman
Labor foreman
Knives des and created by
Weatherford, Texas
COSTUMES
Cost supv
Key costumer
Set costumer
Set costumer
Set costumer
Cost asst
MUSIC
Mus ed
Asst mus ed
Mus scoring mixer
SOUND
Sd mixer
Boom person
Cable person
Re-rec mixer
Re-rec mixer
Re-rec mixer
Re-rec mixer
Rec
Re-rec projectionist
Spec vocal eff created by
Predator vocalization
Spec sd eff
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Asst sd ed
Asst sd ed
Asst sd ed
Supv dial ed
Dial ed
Dial ed
Dial ed
ADR supv
ADR ed
Asst dial ed
Asst dial ed
ADR mixer
Foley artist
Foley artist
Foley mixer
Foley rec
Foley services
Audio programming
VISUAL EFFECTS
Creature created by
Visual eff coord
Visual eff supv
Spec eff supv
Spec eff foreman
Spec eff foreman
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Spec eff
Coord, Art dept, Creature eff crew
Coord, Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Art dept, Creature eff crew
Coord, Mechanical dept, Creature eff crew
Mechanical dept, Creature eff crew
Mechanical dept, Creature eff crew
Mechanical dept, Creature eff crew
Mechanical dept, Creature eff crew
Mechanical dept, Creature eff crew
Visual eff prod, R/Greenberg Associates Effects Un
Opt camouflage supv, R/Greenberg Associates Effect
Opt layout, R/Greenberg Associates Effects Unit
Opt layout, R/Greenberg Associates Effects Unit
Opt layout, R/Greenberg Associates Effects Unit
Opt layout, R/Greenberg Associates Effects Unit
Opt layout, R/Greenberg Associates Effects Unit
Opt layout, R/Greenberg Associates Effects Unit
Opt cam, R/Greenberg Associates Effects Unit
Opt cam, R/Greenberg Associates Effects Unit
Opt cam, R/Greenberg Associates Effects Unit
Opt cam, R/Greenberg Associates Effects Unit
Anim coord/ Cam, R/Greenberg Associates Effects Un
Anim cam, R/Greenberg Associates Effects Unit
Anim/Rotoscope, R/Greenberg Associates Effects Uni
Spark anim, R/Greenberg Associates Effects Unit
Computer anim, R/Greenberg Associates Effects Unit
Computer anim, R/Greenberg Associates Effects Unit
Opt tech, R/Greenberg Associates Effects Unit
Opt tech, R/Greenberg Associates Effects Unit
Motion control supv, R/Greenberg Associates Effect
Motion control cam, R/Greenberg Associates Effects
Infrared consultant, R/Greenberg Associates Effect
Video and graphic displays by
Predator P.O.V. eff by
Video Image
Video Image
Video Image
Video Image
Coord, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Crew, Video Image
Addl visual eff
Addl visual eff
Howard A. Anderson Company, Addl visual eff
Howard A. Anderson Company, Addl visual eff
Matte artist, Visual Concept Engineering, Addl vis
Matte artist, Visual Concept Engineering, Addl vis
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
MAKEUP
Makeup des and created by
Makeup supv
Makeup artist
Hair styling supv
Hair stylist
PRODUCTION MISC
Casting
Casting
Prod exec
Scr supv
Addl prod mgr
Post prod intern
Prod coord
Asst prod coord
Asst prod coord
Asst to Mr. Silver
Asst to Mr. Gordon
Asst to Mr. Gordon
Asst to John Davis
Asst to John Davis
Asst to Mr. Hopkins
Police adv
Loc mgr
Loc scout
Transportation coord
Transportation capt
Transportation co-capt
Prod accountant
Asst accountant
Asst accountant
Casting asst
Extras casting
Extras casting
Unit pub
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Craft service
Caterer
Pilot
Omega Command trailer equipped by
COLOR PERSONNEL
Col timer
Col timer
Color by
SOURCES
LITERARY
Based on characters created by Jim Thomas and John Thomas.
SONGS
“En Mi Barrio,” written by Michael Sembello and Gerardo Mejia, produced by Michael Sembello, performed by Gerardo, courtesy of Interscope Records
“Young Gifted And Black,” written by Papa Dee and Karl “Utopia” McFaul, produced by Bomkrash and Papa Dee, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International
“Hypocrites (Dem Haffi Leave), written by Papa Dee and The Falcon, produced by Christian “The Falcon” Falk, co-produced by Papa Dee and Bomkrash, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International
+
SONGS
“En Mi Barrio,” written by Michael Sembello and Gerardo Mejia, produced by Michael Sembello, performed by Gerardo, courtesy of Interscope Records
“Young Gifted And Black,” written by Papa Dee and Karl “Utopia” McFaul, produced by Bomkrash and Papa Dee, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International
“Hypocrites (Dem Haffi Leave), written by Papa Dee and The Falcon, produced by Christian “The Falcon” Falk, co-produced by Papa Dee and Bomkrash, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International
“Lettin’ Off Steam,” written by Papa Dee and Karl “Utopia” McFaul, produced by Bomkrash and Papa Dee, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International
“Fake,” written by Papa Dee and Lati Kronlund, produced by Lati Kronlund, performed by Papa Dee, courtesy of Telegram Records AB and BMG Music International.
+
PERFORMERS
DETAILS
Series:
Alternate Title:
Predator II
Release Date:
21 November 1990
Premiere Information:
Los Angeles and New York openings: 21 November 1990
Production Date:
20 February--18 May 1990
Copyright Claimant:
Twentieth Century Fox Film Corporation
Copyright Date:
27 November 1990
Copyright Number:
PA489051
Physical Properties:
Sound
Spectral Recording Dolby Stereo SR™ in Selected Theatres
Color
Lenses
Lenses and Panaflex® Cameras by Panavision®
Duration(in mins):
108
Length(in feet):
9,705
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
30845
Passed by NBR:
No
SYNOPSIS

In 1997, an extraterrestrial stalks the city of Los Angeles, California, searching for the heat of violence that registers as bright red in its visual infrared spectrum. As police wage a gun battle against a Colombian drug gang, television reporter Tony Pope from Hard Core broadcasts live from the scene. Lieutenant Detective Mike Harrigan of the Los Angeles Police Department (LAPD) drives into the action, using his car as a shield for other officers, and shoots several gangsters. The Colombians retreat into a building where they keep heavy weapons. The alien watches from the rooftop, relatively invisible to humans because of its ability to bend light. Harrigan races into the building, despite a warning from his partner, Danny Archuleta, that they have orders not to pursue the gang. As Colombians arm themselves inside, the alien drops through a skylight and slaughters them all, except for the leader, El Scorpio, who runs to the roof. Chasing him there, Harrigan shoots El Scorpio, not realizing that the drug lord is firing not at him, but the alien behind him. El Scorpio falls to his death below. Only then does Harrigan glimpse the creature shimmering nearby as it prepares to attack him. However, the alien hides when a S.W.A.T. team storms the roof. As police find the other gang members dead, Danny Archuleta sees something shimmer above the skylight. Deputy Chief Bill Heinemann arrives and berates Mike Harrigan for disobeying his order to stay out of the building, because a federal task force has taken over the Colombian case. Led by Special Agent Peter Keyes, government agents arrive ... +


In 1997, an extraterrestrial stalks the city of Los Angeles, California, searching for the heat of violence that registers as bright red in its visual infrared spectrum. As police wage a gun battle against a Colombian drug gang, television reporter Tony Pope from Hard Core broadcasts live from the scene. Lieutenant Detective Mike Harrigan of the Los Angeles Police Department (LAPD) drives into the action, using his car as a shield for other officers, and shoots several gangsters. The Colombians retreat into a building where they keep heavy weapons. The alien watches from the rooftop, relatively invisible to humans because of its ability to bend light. Harrigan races into the building, despite a warning from his partner, Danny Archuleta, that they have orders not to pursue the gang. As Colombians arm themselves inside, the alien drops through a skylight and slaughters them all, except for the leader, El Scorpio, who runs to the roof. Chasing him there, Harrigan shoots El Scorpio, not realizing that the drug lord is firing not at him, but the alien behind him. El Scorpio falls to his death below. Only then does Harrigan glimpse the creature shimmering nearby as it prepares to attack him. However, the alien hides when a S.W.A.T. team storms the roof. As police find the other gang members dead, Danny Archuleta sees something shimmer above the skylight. Deputy Chief Bill Heinemann arrives and berates Mike Harrigan for disobeying his order to stay out of the building, because a federal task force has taken over the Colombian case. Led by Special Agent Peter Keyes, government agents arrive wearing dark jackets and carrying metal briefcases. Heinemann orders Harrigan back to the Alvarado Station. On a television screen, Hard Core host Tony Pope reports that the Colombians were killed by a rival Jamaican drug gang. Captain Pilgrim calls Harrigan into his office to reiterate that the feds are “calling the shots.” Moments later. Peter Keyes enters and explains that his agents are trying to keep “King Willie’s” Voodoo Gang from taking over the West Coast drug market. Danny Archuleta privately tells Harrigan that the Colombians were torn apart, not shot, and although everyone blames King Willie’s Jamaican gang, nobody saw them in the building. Jerry Lambert, the “Lone Ranger” from the Rampart Station, arrives at Alvarado to join Harrigan’s team. When he irritates Leona, the team’s only female detective, she grabs his crotch and warns him not to let his “cowboy” tactics put the team in danger. Later, when the Jamaican gang invades the penthouse of Colombian kingpin Ramon Vega and ritually murders him, the alien crashes through the window and slaughters them all, except for Vega’s girl friend, who hides. Harrigan arrives, and despite orders to stay out of the building, leads his unit to the penthouse and finds the Jamaicans strung up by their heels and skinned. Leona guesses Vega’s grisly death was a voodoo killing, but nobody can explain the Jamaicans’ deaths. When they find Vega’s girl friend in shock, she mutters in Spanish that "Diablo," the devil, has come. Just as Danny Archuleta sees an odd-looking spear tip sticking near the ceiling, Peter Keyes arrives with federal agents, orders them out, and warns Harrigan never to cross him again. After following the ambulance carrying the girl friend, Lambert reports to Harrigan that Keyes interceded and took her away in his helicopter. Harrigan orders him and Leona to follow Keyes. Danny Archuleta later returns to the building and breaks into Vega’s penthouse to retrieve the spear tip, but the alien kills him. When Deputy Chief Heinemann threatens to suspend Harrigan for sending Archuleta to the penthouse, Captain Pilgrim defends the detective, but orders him not to impede the federal investigation. Outside in the corridor, Harrigan grabs Keyes and warns him to stay out of his way, but Keyes responds that Harrigan has no idea what he is dealing with. Later, Lambert and Leona report that Keyes’s men have been setting up “weird radar sensors” all over downtown, but they lost the trail of the agents near the slaughterhouse. Medical examiner Irene Edwards informs Harrigan that Archuleta was decapitated and “boned like a fish,” with his spine ripped from his body. She cannot tell him about the Jamaicans because Peter Keyes’s own pathologists took their bodies away. When Harrigan shows her the nearly weightless spear tip he pried from Danny’s dead hand, Edwards makes an atomic analysis that determines its material is unknown. Harrigan sets up a meeting in an alley with King Willie, who tells him that whatever is killing everybody is from “the other side.” After Harrigan leaves, the alien drops from a roof, kills King Willie, and rips out his skull and spinal column. Hard Core reports that the “Psycho Vigilante Killer” is skinning his victims and tearing out their hearts. Jerry Lambert reports that Peter Keyes is not from the Drug Enforcement Agency, but rather a scientist and former Air Force intelligence agent. Edwards, the medical examiner, tells Harrigan that Keyes left behind a piece of wood covered with traces of cattle blood and steroids, most likely from a slaughterhouse. Lambert reminds Harrigan that he lost track of Keyes near the slaughterhouse. When Harrigan visits Danny Archuleta’s grave, the predator follows. A little boy fires a toy machine gun at the shimmering alien, but it scans the gun, realizes it is a toy, and leaves him alone. Harrigan sees Danny’s good-luck necklace hanging from a branch and realizes the alien is nearby. Later, Jerry Lambert and Leona become involved in a standoff inside a subway car as several commuters pull guns on armed Latino gangbangers. Suddenly, the predator crashes through the roof. Several gang members, commuters, and Lambert are killed, but when the predator grabs Leona, it sees the heat signature of her living fetus and spares her. When police arrive, Harrigan follows the alien into the subway tunnel. He finds Jerry’s headless body and chases the predator to street level. The creature climbs a building and moves along rooftops toward the slaughterhouse. Harrigan gets his car and follows, but Keyes’s men crash into him and take him prisoner. The predator stands atop a building, holding up Jerry’s skull and spinal column as lightning strikes. The feds take Harrigan to a large trailer, where Peter Keyes shows him a bank of video monitors. Keyes explains that a similar extraterrestrial creature killed several U.S. commandos in a Central American jungle ten years earlier, but two survivors were able to report that it responded to heat and conflict. Now, a new predator is “on safari” in the urban jungle of Los Angeles, protected by its ability to bend light as a form of camouflage. Keyes wants to immobilize and capture the alien with freezing nitrogen spray, because of the technology it could provide. Tracking the predator’s scent molecules with “pheromone scanners,” Keyes’s men have learned its patterns, and now it has returned to its main feeding place: the slaughterhouse. Keyes has laid a trap, believing the predator can see only within the infrared spectrum. His team wears suits insulating body heat, and they flood the slaughterhouse with ultraviolet light and radioactive dust that will adhere to the alien’s body and make it visible. Keyes leaves Harrigan in the trailer to watch the team invade the slaughterhouse on the monitors. However, the alien changes its visual spectrum and is able to see beams from their flashlights. It drops among the agents and kills them. Harrigan escapes from the trailer, pulls a shotgun from the trunk of his car, and enters the slaughterhouse. After an explosion sets off sprinklers that render the predator visible, Harrigan wounds it. He takes off its helmet, but the alien revives and tosses him aside. Peter Keyes appears and tries to blast the creature with a freezing agent, but it throws a special disc that slices into the federal agent’s heart. Retrieving the disc, the predator follows Harrigan up a ladder to the roof, but Harrigan tackles it and they fall off the side of the building. Harrigan lands on a ledge, but the creature hangs by its fingers. Grabbing the disc, Harrigan cuts off the predator’s left hand. The alien slides down the building but breaks its fall by grabbing a pipe that falls away from the building. It crashes through a bathroom window in an adjacent building. Harrigan slides down another pipe, then climbs to the bathroom while the predator tends to its wounds and prepares a new weapon. When it escapes down an elevator shaft, Harrigan follows and tumbles down a tunnel to the predator’s lair. Still armed with the disc, Harrigan slices into the predator’s chest and rips out its heart. Suddenly, other creatures appear, but instead of attacking, they pick up their fellow predator and leave. One tosses Harrigan an eighteenth century pistol. As the huge subterranean lair vibrates, he runs and makes it to safety before the building explodes. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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