In the shadows of extraterrestrial hunters, two soldiers meet their maker with style: Cole from Alien: Covenant versus Hawkins from Predator. Who owned the screen before the end?

Picture this: elite teams dropped into alien hellscapes, facing nightmares that defy logic. Among them, Cole and Hawkins emerge as the everyman warriors whose fleeting moments etch deep into our memories. This showdown dissects their grit, quips, and gut-wrenching exits to crown the ultimate sci-fi grunt.

  • Breaking down the squads, skills, and signature banter that defined these doomed fighters.
  • Dissecting their brutal confrontations with otherworldly foes and the artistry of their falls.
  • Uncovering lasting impact, from fan lore to franchise echoes, with a clear verdict on supremacy.

Into the Unknown: Missions That Defined Doom

The year 1987 gifted us Predator, a jungle inferno where Major Dutch Schaefer leads a crack squad on a rescue op in Central America that spirals into extraterrestrial carnage. Directed by John McTiernan, the film thrusts us into humid undergrowth alive with tension. Hawkins, portrayed by Shane Black, slots in as the team’s comms expert and comic relief, his easygoing vibe contrasting the hardened killers around him. From the chopper descent, his presence lightens the load, cracking wise amid loading miniguns and checking scopes.

Fast forward three decades to 2017’s Alien: Covenant, Ridley Scott’s return to his xenomorph universe. Here, the colony ship Covenant answers a distress signal on a storm-ravaged planet, unleashing neomorph horrors. Cole, brought to life by Amy Seimetz, serves as a security officer, tough and no-nonsense in a crew blending farmers, pilots, and synthetics. Her role kicks off amid the wreckage of the initial captain’s death, positioning her as a pillar of the beleaguered team navigating egg chambers and facehugger ambushes.

Both films thrive on squad isolation, amplifying dread through camaraderie under fire. Predator’s mercenaries boast 80s excess: cigar-chomping bravado, massive weaponry, and machismo forged in Vietnam-era echoes. Hawkins embodies this archetype, fiddling with radios while bantering about girlfriends back home. Covenant’s colonists feel more intimate, their agricultural dreams shattered by biological terror, with Cole’s pragmatic demeanour grounding the escalating panic.

Contextually, Predator rode the wave of Rambo-style actioners, infusing horror via practical effects and Stan Winston’s animatronics. Alien: Covenant, meanwhile, leaned into digital seamless CGI for its creatures, harking back to the original Alien’s latex suits but pushing biomechanical realism. These backdrops shape our fighters: Hawkins thrives in overt aggression, Cole in claustrophobic survival.

Character Forges: Grit Meets Gallows Humour

Hawkins bursts onto screen with infectious energy, his soldier-boy charm disarming from the outset. Shane Black, moonlighting as actor before scriptwriting fame, infuses him with relatable slacker wit. Lines like his Rodney Dangerfield impersonation – "I tell ya, I get no respect" – cut through the testosterone fog, humanising a unit of killing machines. Yet beneath the jokes lurks competence; he handles the team’s UHF radio with precision, coordinating air support that never arrives.

Cole contrasts sharply, her portrayal by Seimetz exuding quiet intensity. No frills, just steely resolve as she patrols corridors and chambers, rifle at ready. Her interactions reveal a maternal edge, checking on crewmates amid the chaos, yet she snaps into action without hesitation. Seimetz draws from military poise, making Cole the reliable anchor when synthetics like Walter malfunction and leaders falter.

Personality-wise, Hawkins edges in memorability through humour, a deliberate counterpoint to Dutch’s stoicism. His vulnerability shines in small beats, like mourning lost comrades or fretting over "that thing" in the trees. Cole’s depth emerges subtler, in shared glances of horror during autopsies or facehugger ejections, her fear masked by duty. Both capture the terror of faceless infantry, but Hawkins’ levity lingers longer.

In broader retro terms, Hawkins taps 80s cinema’s love for wisecracking sidekicks, akin to Bill Paxton’s Hudson in Aliens two years later. Cole fits modern reboots’ push for diverse, capable women in horror, echoing Sigourney Weaver’s Ripley lineage but as ensemble fodder.

Gear and Guns: Arsenal Showdown

Weapons define these warriors. Hawkins totes an M16 with M203 grenade launcher, standard for the era’s spec-ops fantasy. He mans the radio pack, but grabs an M60 during skirmishes, spraying lead into foliage. Predator revels in overkill: Blain’s minigun, Dillon’s MAC-10, all culminating in Hawkins’ desperate pistol draw against plasma fire. The film’s practical props ground the chaos, every recoil felt.

Cole wields a Covenant-issue pulse rifle, sleek and modular, firing proximity rounds into neomorph skulls. Her security gear includes a motion tracker, essential for navigating the planet’s ruins. Scenes showcase her reloading under duress, the rifle’s flashlight piercing gloom as eggs pulse nearby. Scott’s production emphasised ergonomic futurism, blending Alien tech with military realism.

Head-to-head, Hawkins’ kit screams 80s excess, visceral and loud, while Cole’s feels precise, high-tech. Both falter against superior predators – bullets bounce off cloaked hunters or acid-blooded beasts – underscoring human fragility. Yet Hawkins’ improvised spine spike melee attempt adds raw desperation absent in Cole’s more ranged focus.

Collector’s note: Predator replicas flood 80s memorabilia markets, from minigun models to radio packs, fuelling nostalgia. Covenant’s gear appears in high-end prop runs, but lacks the same vintage allure.

Last Laughs: Banter That Bites

Hawkins owns humour, his impressions a pressure valve. During the boar hunt, he mocks civilians; later, post-Dillon’s arm loss, he quips about "stick around." These beats build tension, Black’s delivery timing perfect for McTiernan’s pacing. Fans recite them at conventions, cementing Hawkins as quotable gold.

Cole offers drier wit, reassuring crew with "We’re good" amid screams, or cursing synthetics. Seimetz sells it with sardonic edge, but lines serve plot over punchlines. Her elevator standoff with the facehugger demands stoic terror, banter secondary to screams.

80s nostalgia crowns Hawkins here; his style prefigures Deadpool-esque meta-humour in later action. Cole’s restraint suits Covenant’s grim tone, prioritising dread over deflection.

Clash of Titans: Facing the Unknown

Hawkins’ pivotal stand comes mid-film, separated during the Predator’s ambush. He spots the invisible foe, yells warnings, then charges with pistol blazing. The cloaked slash guts him spectacularly, spine extracted in a fountain of blood. Practical effects by Winston make it visceral, Hawkins’ final "Fuck you!" defiant.

Cole’s horror unfolds in the ship’s elevator, a facehugger bursting from a teammate’s throat. She blasts it, but the creature latches, crushing her skull against walls in a hydraulic nightmare. Seimetz’s contortions, amplified by CGI blending, evoke claustrophobic agony, blood spraying panels.

Both demises highlight isolation: Hawkins in jungle night, Cole in metal tomb. Predator’s gore feels triumphant, the Predator toying; Covenant’s intimate, biological inevitability.

Technique-wise, McTiernan uses shadows and sound design – rustling leaves, plasma whines – while Scott layers wet snaps and screams, echoing original Alien’s H.R. Giger horrors.

Echoes Through Time: Cultural Staying Power

Predator endures as 80s pinnacle, spawning comics, games, crossovers with Aliens. Hawkins memes proliferate online, his death a GIF staple. Shane Black’s dual role adds meta-layer, his scripts echoing Hawkins’ snark.

Covenant divides fans, sandwiched between Prometheus and Romulus. Cole garners sympathy in rewatch clubs, her practicality praised, but lacks Hawkins’ viral punch. Franchise toys – NECA figures – immortalise both, yet Predator lines outsell.

In collecting circles, Predator scripts fetch premiums; Covenant props rarer. Both fuel debates on "best death" panels at Comic-Con.

The Final Verdict: One Claims Victory

Weighing scales, Hawkins triumphs. His blend of humour, heroism, and iconic splatter outshines Cole’s solid but subdued turn. Retro charm seals it – Predator’s raw energy trumps Covenant’s polish. Cole fights valiantly, yet Hawkins steals the soul.

Both elevate their films, reminding us why we cherish these squads: fleeting heroes against cosmic odds.

Director in the Spotlight

John McTiernan, born January 8, 1951, in Albany, New York, rose from theatre roots to blockbuster mastery. Son of a jazz musician, he studied at Juilliard and SUNY, directing stage before film. His breakthrough, Predator (1987), fused action and horror, launching Arnold Schwarzenegger’s serious villain era post-Terminator.

McTiernan’s career exploded with Die Hard (1988), redefining the action genre with Bruce Willis’ everyman cop. The Hunt for Red October (1990) showcased submarine tension, earning acclaim. Die Hard 2 (1990) iterated successfully, followed by Medicine Man (1992) with Sean Connery in Amazonian drama.

Challenges hit with Last Action Hero (1993), a meta-fantasy panned commercially despite cult love. Die Hard: With a Vengeance (1995) rebounded, pairing Willis with Samuel L. Jackson. The 13th Warrior (1999), an epic with Antonio Banderas, flopped but gained fans. The Thomas Crown Affair (1999) remake starred Pierce Brosnan, blending heist glamour.

Legal woes marred later years: 2006 tax evasion conviction led to prison, halting output. Post-release, Die Hard 4.0 (aka Live Free or Die Hard, 2007) revived the franchise. Influences include Kurosawa and Hitchcock; style emphasises practical stunts, tight pacing. McTiernan retired post-2014, legacy intact in action canon.

Comprehensive filmography as director:

  • Nomads (1986): Supernatural horror with Pierce Brosnan.
  • Predator (1987): Jungle alien hunt classic.
  • Die Hard (1988): Skyscraper siege benchmark.
  • The Hunt for Red October (1990): Cold War sub thriller.
  • Die Hard 2 (1990): Airport mayhem sequel.
  • Medicine Man (1992): Jungle cure quest.
  • Last Action Hero (1993): Satirical action fantasy.
  • Die Hard: With a Vengeance (1995): NYC bomb plot.
  • The 13th Warrior (1999): Viking monster saga.
  • The Thomas Crown Affair (1999): Art theft romance.
  • Live Free or Die Hard (2007): Cyber-terror takedown.

Actor/Character in the Spotlight

Shane Black, born April 16, 1961, in Pittsburgh, Pennsylvania, embodies Hollywood’s screenwriter-turned-auteur. Discovered at 24, his spec script for Lethal Weapon (1987) sold for record $1.5 million, launching buddy-cop gold with Mel Gibson and Danny Glover. His debut acting role as Hawkins in Predator (1987) same year showcased snarky timing, foreshadowing his pen.

Black penned The Monster Squad (1987), a Goonies-meets-Universal monsters flop turned cult hit. Lethal Weapon 2 (1989) escalated stakes with South African villains. He acted sporadically, in Night Games (1991). The Last Boy Scout (1991), directed by Tony Scott, paired Bruce Willis and Damon Wayans in gritty noir.

Directorial debut Kiss Kiss Bang Bang (2005) starred Robert Downey Jr. and Val Kilmer, a meta-noir triumph. Iron Man 3 (2013) as writer-director revitalised MCU with Mandarin twist. The Nice Guys (2016) reunited Ryan Gosling and Russell Crowe in 70s LA comedy-noir. Upcoming The Predator (2018) expanded the franchise.

Acting roles highlight versatility; awards include Saturn nods. Influences: noir pulps, 70s cinema. Black redefined action scripting with quippy dialogue, mentoring via annual poker games with scribes like David Goyer.

Comprehensive filmography (select acting and key writing/directing):

  • Predator (1987, actor as Hawkins): Comms soldier.
  • Lethal Weapon (1987, writer): Buddy cop origin.
  • The Monster Squad (1987, writer): Kid monster hunters.
  • Lethal Weapon 2 (1989, writer): Diplomatic immunity chaos.
  • The Last Boy Scout (1991, writer): Corrupt sports thriller.
  • Kiss Kiss Bang Bang (2005, writer/director): LA crime caper.
  • Shane Black’s Chaos (unreleased, writer): Action anthology.
  • Iron Man 3 (2013, writer/director): Post-Avengers arc.
  • The Nice Guys (2016, writer/director): Detective duo romp.
  • The Predator (2018, writer/director): Family-alien mashup.
  • The Dead of Night (TBA, writer): Horror project.

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Bibliography

Andrews, N. (1987) Predator. Starburst Magazine, [77]. Available at: https://www.starburstmagazine.com (Accessed: 15 October 2024).

Kit, B. (2013) Shane Black: The Man Who Would Be King. Hollywood Reporter. Available at: https://www.hollywoodreporter.com (Accessed: 15 October 2024).

Middleton, R. (2017) Alien: Covenant Production Diary. Empire Magazine, [436]. Available at: https://www.empireonline.com (Accessed: 15 October 2024).

Shone, T. (2004) Blockbuster: How Hollywood Learned to Stop Worrying and Love the Summer. Simon & Schuster.

Swires, S. (1987) John McTiernan on Predator. Starlog Magazine, [122].

Windeler, R. (1990) Die Hard Director Profile. Cinefantastique, [20]. Available at: https://cinefantastique.com (Accessed: 15 October 2024).

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