Mototerminator says HI!

Let’s take a look at some of the critics reactions to Terminator Salvation.

From Time Magazine Mary Pohls says: It’s an action movie wrapped in an action movie, with a side of bombing.

From Variety by John Anderson: Darker, grimmer and more stylistically single-minded than its two relatively giddy predecessors, “Terminator Salvation” boasts the kind of singular vision that distinguished the James Cameron original, the full-throttle kinetics of “Speed” and an old-fashioned regard for human (and humanoid) heroics. Only pic’s relentlessly doomsday tone — accessorized by helmer McG’s grimy, gun-metal palette — might keep auds from flocking like lemmings to the apocalypse. The fourth in the celebrated sci-fi series, “Salvation” opens and closes with humanity at war with the machines. In other words, this thing isn’t going to end soon. Nor should it, if it keeps on like this.

Reelviews by James BerardinelliFor the first occasion in four movies, Terminator: Salvation does not move back and forth in time. Excepting a prologue in 2003, it stays rooted in 2018. This is a period not explored in previous installments of the cinematic series. Of course, after all of the muddying of the past that transpired in the second and third Terminator films, it’s no longer clear how much of the “established” future remains valid. As in Star Trek, we’re dealing with an alternate universe, so all bets are off. Will John Connor really become the legendary leader of a human resistance that overcomes the machines (as indicated in The Terminator)? Will he be killed by a T-800 that is subsequently re-programmed by his wife (as established in T3)? One of the problems with introducing time travel is that standard rules no longer apply. Filmmakers can do anything they want.

T-800
Empire Magazine by Devin Faraci

So perhaps the greatest surprise doesn’t come in the form of plot twists but from the fact that the movie is… pretty damn good. Let’s not be foolish — it doesn’t hold a candle to the first two James Cameron films, but it wipes the floor with Terminator 3. As a movie all on its own, not compared to the prior entries, it works very well…

Terminator Salvation’s biggest flaw is that, just as it’s building
up a head of steam, it ends. Not satisfyingly, not dramatically, and not in a cliffhanger fashion; it just feels like they’ve run out of film and must wrap it all up in four quick minutes. Terminator Salvation is supposed to herald the start of a new trilogy, but the end of this one feels quite finished. Time travel is yet to happen, but the film hasn’t left enough open ends to make a sequel automatically compelling. It seems a strange critique of a film — it’s too standalone! — but this world, which had been marvellously opened in the previous 110 minutes, feels abruptly closed in the final five.

Rollingstone by Peter Travers: No laughs. No swinging-dick R rating (PG-13, really?). No road map for Terminator newbies to follow yet another time-travel plot. But even with a rusty script, T4 still manages to blend action and feeling. Director McG, filling the big shoes of James Cameron on the first two films (Jonathan Mostow had less luck on T3), turns Los Angeles circa 2018 into a post-Judgment Day wasteland right up Cormac McCarthy’s road.

San Fransisco Chronicle by Eric LaSalle Still, why complain about botched dramatic scenes in a movie that’s all about the action? So let’s end with a word about the action itself: It isn’t really action. It’s commotion. It can’t be action if nothing happens, and nothing can happen because the commotion doesn’t advance the story. The commotion, the explosions, the fireballs function here only to delay action, to keep the status quo in place, so as to stretch what otherwise would be a 20-minute short into an almost two-hour feature.

“Terminator Salvation” looks busy, but it’s static. The thing doesn’t budge. It’s an epic waste of time.

There’s so many I’ll save some more for later.

Ross Out.

Advertisements