Predator has a lot going for it. Acting, directing, editing. But not usually all at once. The film opens with a quick introduction–Arnold Schwarzenegger and company are on a special mission in the jungle (after establishing an alien space ship in the first shot). It feels very macho and very forced, but the editing is so incredibly good, it doesn’t matter. Even when Mark Helfrich and John F. Link are cutting together Arnold and Carl Weathers’s male bonding moments, the film works great. It just moves.

Then, as the film brings in the rest of the supporting cast (Weathers or Shane Black give the worst performance and both of them are totally fine), director McTiernan establishes the film’s visual style. Predator doesn’t have much of an action style when the alien finally does show; McTiernan handles it matter-of-fact (cinematographer Donald McAlpine doesn’t appear to have the ability to do much else), so McTiernan instead stylizes the dialogue sequences with particular close-ups and, even more, how he shoots the actors in relation to each other and the jungle they’re in. Predator never looks flashy, but it’s always thoughtfully visualized.

There is one great sequence with Arnold and company running through the jungle before he goes mano-a-mano with the monster. That sequence has McAlpine’s best photography and McTiernan’s best action directing. It’s fast-paced, hectic, but comprehendible and rather sympathetic. The concept–these big muscle men terrified of the unknown monster–works. It makes a lot of Predator work. But only because of the actors.

In the supporting cast, Bill Duke and Richard Chaves are best. Duke’s got the most character arc while Chaves has near the least, but is just really good with it. Then there’s quiet, stoic Sonny Landham and he sells it too. McTiernan’s direction is really important for these performances. Jesse Ventura and Elpidia Carrillo are both good. And, like I said, Weathers and Black aren’t bad. They just aren’t doing anything special; however, given the silliness of Weathers’s character (super-buff CIA stooge), it’s impressive how much Weathers resists caricature.

Nice, memorable music from Alan Silvestri.

The movie falls apart a bit in the finale, which is a little rushed. But McTiernan and his editors turn it around satisfactorily. McAlpine’s photography, which is too flat–both for action and the locations–does contribute to the film’s success. Predator plays way too thoughtful. McTiernan takes it way too seriously. The story is never consequential enough, but McTiernan and the actors ably pretend otherwise.