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And then, of course, it has that doom-laden ending. Rise Of The Machines, even with its misplaced humor, retains at least a hint of the previous two films’ nightmarish quality – the sensation of being chased by a force that cannot be reasoned with, and absolutely will not stop. The biggest problem with Salvation is that it feels like the product of an effort to push the Terminator franchise into broader sci-fi action territory, and the resulting film winds up jettisoning the horror undertones that gave the previous entries their distinctive texture. As a result, Salvation feels like a collection of ideas in search of a coherent plot the notion of telling the story from the perspective of a cyborg (Marcus, played by Sam Worthington) is a good one, for example, but the philosophical implications of a human waking up as a machine are quickly set aside. It bears the scars of its numerous script rewrites and a reshot third act. Terminator Salvation, meanwhile, is a film I find far harder to defend.
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The downbeat conclusion has quite an impact, and the two leads, Nick Stahl and Claire Danes, both provide effectively haunted performances in the dying moments. Once the rather-too-broad humor has abated (Schwarzenegger’s “Talk to the hand” moment remains a toe-curler even 12 years later), some of the darkness from the 1984 film starts to creep in. We’re asked to swallow a couple of hefty coincidences early on, while the entire premise – that Judgment Day can’t be stopped, no matter what we do – flies in the face of the positive “there is no fate but what we make for ourselves” message of Terminator and T2.Īll this aside, Terminator 3 still entertains as an action film. Similarly, T3’s screenplay lacks polish of Cameron’s original pair of classics. Jonathan Mostow provides a safe pair of hands for the franchise, staging his action scenes competently and keeping the plot moving from point to point, but there’s not a single shot in Rise Of The Machines to rival the stark, inhuman expression of the T-800 framed in a front door in The Terminator(you know, the scene where we see him blow away one of several Sarah Connors he finds in the phone book), or the nightmarish sense of claustrophobia we get from the future-set scenes in T2. The problem with Terminator 3 is, most obviously, that it doesn’t have a filmmaker with as distinct a style or worldview as James Cameron at the helm. It’s a pleasure to see Earl Boen back, too, as the luckless Dr Silberman, whose relentless skepticism is stretched to breaking point in his brief cameo here. Schwarzenegger still convinces as an action lead, and his tussles with the T-X – not to mention the early versions of Skynet’s future army towards the end – are solidly staged. When compared to the less focused Salvation, this doesn’t seem like such a bad choice, since Terminator 3 does at least feel of a piece with The Terminator and T2 in terms of action and breakneck pace. Rise Of The Machinesstuck rigidly to its predecessors’ chase format, with a now 20-something, disillusioned John Connor chased across California by a new assassin, Kristana Lokken’s wily T-X. But is it possible that we’re all being just a little too harsh on Terminator 3? For us, both Rise Of The Machines and Salvation have more than their share of problems – particularly the noisy Salvation, which didn’t always feel much like a Terminator sequel – but Rise Of The Machines still has much to offer.