Directed by:
McGCinematography:
Shane HurlbutComposer:
Danny ElfmanCast:
Christian Bale, Anton Yelchin, Moon Bloodgood, Sam Worthington, Common, Bryce Dallas Howard, Helena Bonham Carter, Roland Kickinger, Jane Alexander (more)VOD (1)
Plots(1)
In the aftermath of Judgment Day and the machine takeover, resistance leader John Connor (Christian Bale) must counter Skynet’s plan to terminate mankind. Rallying his underground street fighters for a last, desperate battle, he realizes that to save the future he must rescue his own father Kyle Reese (Anton Yelchin). But the most shocking discovery comes with the arrival of Marcus Wright (Sam Worthington), a mysterious loner from the past who challenges Connor with an impossible choice and leads them both on a brutal journey into the heart of the enemy. (Universal Sony Pictures Home Entertainment)
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Reviews (13)
The world of the dark future James Cameron only hinted at, which gave a sense of something unknown that I never wanted to see on screen so that its menacing atmosphere would not disappear. Exactly this world is brought to us by McG with Skynet and the Resistance Movement, and to my great relief, he manages to dispel all concerns already with the exposition. There are plenty of reasons to be joyful after all. Whether it's both the dignified opponents at the center of the action, the crucial supporting characters, or the gallery of Terminator villains. But above all, the feeling that the saga was meant to come to these moments. For the direct continuation, I enthusiastically supported it thanks to the feeling that something great was being born. And yet the reality was different.
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An A-movie budget for a B-movie that takes itself way too seriously, and which would benefit immensely if the director, instead of watching the Transformers movies and War of the Worlds, had put on the original Terminator.
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McG actually surprised me in a good way. If I set aside the fact that it stylizes a large part of the exteriors as a backdrop for videos by KORN or some other nu-metal band, T4 has a pretty solid atmosphere. The dialogues are not action-packed - the few "philosophical" branches fit into the trailer, which is quite a performance. T4 offers nothing more in terms of lasting pleasures of the spirit. After a year, Sam Worthington again carried out a big movie theft, and once again the victim is... tatadadaa... Christian Bale. But he himself is to blame this time. Someone should really have explained to him that Connor is NOT a Terminator with an implemented depression chip. Unlike the single-shades of his more famous colleague, Worthington is able humanize his character and provide him with something unforgettable... If we disregard the robotic mentality of the plot and the background of thought, there are still a lot of solid action scenes (but not ballbusting scenes), a nice atmosphere and, for notorious nostalgics, also beautiful memories (for me the most are Gáni roaring from a cassette in the apocalyptic wasteland). I'm having second thoughts: On one hand T4 is soullessness, but on the other I had a great time and wondered what it would be like if someone who could do more than just serve fancy pictures got a hold of it... In this way, I have to conclude that, although unreal, the dehumanization and urgency of Cameron's childhood backdrops of the future remain unsurpassed. Indeed, is really the human heart that sets us apart from machines. McG is an overhead terminator. And faulty can screenwriters. Bah!
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This film starts off as the coolest post-apocalyptic action orgasm since Mad Max 2. It takes only the names of the characters from James Cameron, while providing the well-cast Worthington/Yelchin duo with an interesting introduction. Terminator Salvation is engaging with its atmosphere, deadly new T600s and Transformer-like giants emitting sounds reminiscent of Spielberg’s Tripods. It is a great visual experience relishing its B-movie but extremely entertaining and spectacular take on the subgenre. BUT... in the second half, the creator of Charlie’s Angels seems to acquire the unfortunate impression that he can master Cameron’s reason-governed universe and starts to reference and alter it, and all of the enthusiasm for this film gradually evaporates. It seems like McG hasn’t even watched Cameron’s movies. At most, he has seen Scott’s Blade Runner, about which he was intrigued the most by fire lashing out of chimneys. P.S.: Worthington plays a more remarkable and important character than Christian Bale.
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How an interesting subject can be turned into a pretty mediocre bore. I don't know why, but sometimes I had to grimace at their conversations, speeches. But what really annoyed me was that everybody's favorite shaky cam à la documentary style. Nothing against it, for example in Children of Men it was really useful, but here it's useless. Like I wanted a good look at what was going on, but was told: "Sorry, baby!". Sure, some things were good, but the lighter moments can't save a movie that's supposed to be Something. The only thing I was honestly pleased with was the "rubber" imitation of Arnie's face, I enjoyed that special appearance.
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