In his usual soporific tone, Mr. McTiernan talks on more or less from beginning to end. For a guy who says he hasn’t seen the movie in a long time, he sure does remember a lot of details. He can still remember what some New York paper said about the movie and its looking like the woods of New Hampshire, and that the alien’s blood came from a children’s toy. He talks about the locations a bit and what they shot there. He talks a little about the special effects and how they came about to be. He’s okay. He forgets some things but he talks a lot and gives out a lot of interesting information. He talks about how he got the job and what compromises he had to do given this is his first studio movie and all. This guy’s very laid back and takes his time saying what he wants to say. Good commentary with some nice funny bits.

Director John McTiernan is someone ive listened to on a couple of other commenteries and his tones arent the sort that will keep you awake if you even a little bit tired.
Predator is a slightly better commentary than Thomas Crown Affair in that i actually learned a few things in this one.
There are some good tales to be heard from he making of this film and i wont ruin them here. This chat track is recommended but be warned. Johns voice will make you want to nod off and there are some (what seemed like minutes) sound gaps in the audio.

I concur with the other reviews that McTiernan is a very dry and monotone speaker. There was a part of the commentary after the scene where the Predator kills Jesse Venture and then escapes where he just seemed to drone on and on and on about gun control and the meaning of weapons and violence.

Sounds like John McTiernan smoked a fat one before doing this commentary.

I think the above review is a good description of the tone of the commentary. That said, this is the third commentary I've listened to w/ McTiernan, and at this point I can safely that McT benefits from editing or another person in the room. However, there are informative bits and pieces but if you're looking to learn about the genesis of this film - it's not to be found here. McT is simply a monotone speaker, laid back and sparse which overshadows the information he divulges. I think it's an average track however, maybe not necessarily memorable. You get some stories about location shoot and the union problems, discussion on the Old Painless - that's around the time McT begins to talk about the guns and violence in films which one of the reviewers mentioned. He also talks about how they achieved Predator's vision (heat vision). McT once again talks about his love for 'language' that stems from watching foreign films as well as film as 'musical structures' - both of these topics he discusses in Die Hard at length. Be prepared for some dead air, but nothing too long

I went in for this one very well aware of our beloved McTiernan's dry, elliptical and reluctant commentary tone, but heck, this one manged to be actually engaging and substantial...it was great for me to see him addressing some things I only noticed seeing the movie now on Blu-ray after watching it many times before, such as the weird shot at the beginning of Arnold lighting a cigar and his whole face turning orange. Also interesting was the anecdote about the filmmakers having failed to do proper research on how the location jungle would look on that time of the year and it turned out it was all dried up and the leaves were all falling, so he kept filling the foregound of the frame with green leaves and branches. He ends the account by saying that "most of the time we got away with it", which helps to illustrate why that movie is going to get a 3D-converted Blu-ray soon. He also talks about the movie being made earlier in his career when he didn't have much clout and his trademark elaborate camerawork was seen with mistrust, that being the reason why he always ended up with foreign cinematographers and probably why the movie's main action sequence ended up on 2nd unit's hands.
And, for the record, contrary to what a couple of reviewers above say, doesn't talk about "gun control" at all, but digresses about how he attempted to subvert the "gun porn" mindset that was rampant in action cinema at the time by having the most gun-intense sequence ending up with nobody killed - which is rather contradictory given that he says he chose the big gatling gun only for aesthetical purposes, as it would be a highly implausible choice in reality.