Because of that other Terminator film recently released, trying its best to soil the name of a once-mighty franchise.
James Cameron’s Terminator 2: Judgment Day is not the film its predecessor, also directed by James Cameron, was. For largely the same reasons that James Cameron’s Aliens is not the film its predecessor, not directed by Cameron, was. 1984’s The Terminator is a more urgent film than 1979’s Alien, but they share a similar sensibility: relentless, unforgiving, nihilist, purposeless terror always lashing out at you, married to perfect filmmaking that traffics in both show-not-tell and not-showing-is-scarier-than-showing. Alien is an outright horror film masquerading as a sci-fi film, and although The Terminator is more comfortably an action film masquerading as a sci-fi film, it trades much closer to horror than you might expect. Continue reading
Update in late 2019 with the release of Dark Fate: The glum and more self-consciously morose later sequels track, recode, and needlessly convolute this film’s elegant, inescapable trudge toward oblivion, shading and sharding Cameron’s original vision in various ways, but they all completely miss the original’s brilliance: its sense of soul-death. Nominally an action film but far divorced from the self-amused tone of the Schwarzenegger pictures that were in the can as soon as this one made a fortune, The Terminator is as implacable and monosyllabic as its namesake: a blood-and-guts slasher film in a metallic overcoat, and one with significantly less Pavlovian satisfaction at the death it deals. Brutal simplicity at its finest, The Terminator essays a dystopic future that ultimately, tragically, realizes its far-flung visions of eventual catastrophe already came to pass in the present while it wasn’t looking. How far this franchise has fallen …
The Long Take 