There’s something so gloriously simple about the Predator. An intergalactic big game hunter that roams the universe, taking on the greatest killers of that planet of that era. Given its simplicity, it is galling how often media has struggled to deliver on its promise. Thankfully, Predator: Killer of Killers is one that largely gets it right.

After the triumph of Prey, Dan Trachtenberg returns for another hunt as co-director, alongside Joshua Wassung, and co-story by credit with the film’s screenwriter, Micho Robert Rutare. Building on the clever idea of his previous film, Killer of Killers is an anthology film that jumps from era to era, spanning the Viking Age, mid-feudal Japan, and World War II. Then, the film closes in the proverbial (and, briefly, literal) belly of the beast as the Predators bring the fight to their home turf.

Animated with a painterly storybook that eschews the more recent trend towards several eclectic styles in one, Predator: Killer of Killers nonetheless feels fresh. Even for the World War II section, the style fits well. It lends each segment a kind of witnessing a myth be born in real-time quality. Each of the first three sections also wisely allows the Predator to be a disruptive force. While not animated differently, each appearance of the extra-terrestrial feels, well, otherworldly. The creature isn’t just a threat to the protagonists’ survival. It seems to damage the very fabric of their reality. Especially in the way that Predator’s tech lets them blink in and out of humans’ vision, it makes the creature seem less flesh and blood (until it does, in fact, bleed) and more like a viral infection given bodily form.

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That the final segment then shatters this should, therefore, be a mistake. When we arrive on the Predator planet (or, given earlier lore, perhaps but one of the planets they’ve claimed), the creatures seem diminished somehow. Frightening still, yes, with their array of weaponry, tremendous size, and monsters wielded like lions let loose on the gladiators. But earth (well, planet) bound. Tangible. Both the horror of them and the strange nobility other films have invested in them feel washed away. They are almost petty when the audience finally gets to see them where they “belong” instead of silently invading and upending the familiar.

It is a risk, to be certain. One particular choice that should lead viewers to re-evaluate what they might’ve believed about Predator “morality” or code might not sit well with some. However, particularly in the context of the film’s overall take on violence, the choice is a smart one. Violence, Predator: Killer of Killers argues repeatedly, is never without consequence. The winners still suffer and lose something even as they continue to draw breath. A battle won rarely marks the end of the story. So, the change might cut the Predators down a bit, but it serves the greater moral of the story smartly. That’s fitting for an anthology that frequently feels like a book of fairy tales.

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Because this is an anthology, there isn’t a lot of time for character development. At 90 minutes with credits, Killer of Killers often plays more like a violence highlight reel than a feature-length film. Still, it skillfully renders the critical relationships in shorthand.

In the first tale, “The Shield,” Ursa (Lindsay LaVanchy) has spent her life on a quest for vengeance. It’s made her a legend but allowed her little else. Even her son Anders (Damien Haas), clearly beloved by her, relates to her more as a general than as a parent. When the Predator arrives at her moment of greatest triumph, it reveals the futility of her life’s mission.

“The Sword” dives into the classic ninja v. samurai stories and the tensions of brotherhood. Raised from birth to follow in their father’s footsteps, Kenji and Kyoshi (both voiced by Louis Ozawa Changchien) ultimately went in different directions. Kenji, however, chose to abandon the family way and strike off on his own. As a result, Kyoshi is coded as samurai and thus noble. Kenji, on the other hand, seems to occupy the role of ninja. However, given that Kyosha is following in the steps of a warlord and Kenji has sought a different path, what is good and bad is murky before the Predator joins their battle. The creature reveals the brothers still care deeply for each other and reinvigorate their shared commitment. However, swords unsheathed rarely return to their scabbards unstained by blood.

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Finally, in “The Bullet,” Gonzalez (Rick Gonzalez) is a mechanic with dreams of being a pilot. When his letter from the draft arrives, it carries with it the promise of getting behind the stick for the United States. Alas, Uncle Sam sees him as a mechanic as well. The Predator joining the dogfight between Vichy French and American fighters gives Gonzalez his first shot to shine. Unfortunately, that opportunity is tragic for so many.

Each segment is thrilling in its own way. It is only when taken as a whole that the film stumbles at all. Everyone’s mileage will vary, of course, but for this writer, a slight trim on the fight scenes for a beat or two more of characterization would’ve been an effective reshuffling. This is particularly the case for the final segment. The bookend’s “bringing the heroes together” energy is fun at first but eventually robs the film of its propulsive vibes. For the first time, the violence stops feeling exhilarating and becomes a bit of a grind. While the section deepens our understanding of the Predators well, it is the one part that feels slack once the fighting starts. One character’s decision and a final reveal lets Predator: Killer of Killers go out on a high note. Still, what should’ve been the crown on the movie proves its weakest segment.

Predator: Killer of Killers sharpens its blades at Hulu starting June 6.

Predator: Killer of Killers Trailer: