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Tag Archive: Mackenzie Davis


Welcome to the day after Judgment Day.

It’s been 35 years since we first heard the message from Kyle Reese given to Sarah Connor, “There’s no fate but what we make for ourselves.”  Producer James Cameron is back in the franchise for the first time since Terminator 2, with Tim Miller (Deadpool) directing the November release Terminator: Dark Fate.  This time we’re told audiences are supposed to ignore everything that came after Terminator 2, and substitute this next chapter, similar to the “picture hopping” the Halloween movie franchise has become known for.  The original Sarah Connor is back with Linda Hamilton reprising her role also like Jamie Lee Curtis has done for Halloween.  (Although this is only Hamilton’s third movie as Connor, compared to Curtis logging four leading performances as Halloween’s Laurie Strode plus two more in the works–not that we’re keeping score).

The CGI-heavy action sequences we’ve seen so far look closer to the original film The Terminator than Cameron’s groundbreaking effects on Terminator 2: Judgment Day–we’re not sure that is what audiences were hoping for.  Newcomer to the series Mackenzie Davis is “almost human,” and Gabriel Luna plays a villain, making them the faces of the next Terminators, following in the footsteps of Jason Patrick, Kristanna Loken, Byung-Hun Lee, and Jason Clarke.  And, best of all, Arnold Schwarzenegger will be back, as promised.  Although it’s difficult not to cringe when Hamilton says she hasn’t seen Davis’s kind of Terminator before, since audiences have, with Loken’s great Terminatrix in Terminator 3: Rise of the Machines.

Wouldn’t it be great if they just brought back Michael Biehn as a parallel timeline Kyle Reese?  The studio has announced Edward Furlong returning as John Connor, so anything is possible with Cameron and Miller here.

First here’s the new poster, followed by the brand new trailer just released, and seven additional teaser reels released yesterday, August 29, the franchise’s “Judgment Day”–

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In 1984 The Terminator introduced us to Linda Hamilton′s young Sarah Connor and her first encounter with Arnold Schwarzenegger′s now classic T-800 “Terminator” cyborg.  In Terminator 2: Judgment Day, director James Cameron amped up Hamilton’s role, resulting in arguably the best female character in all of science fiction movies (in a close heat with Sigourney Weaver’s Ellen Ripley in Aliens, also from Cameron), while making Arnold’s T-800 a good guy.  In Terminator 3: Rise of the Machines, we watched Sarah’s son John Connor (played by Nick Stahl) and his future wife (played by Claire Danes) as they approached Judgment Day–the day of the technological apocalpyse.  In the fourth film Terminator: Salvation, audiences saw an older John Connor (Christian Bale) fighting the machines after the series’ Judgment Day, along with a young Kyle Reese played by Anton Yelchin, recounting the origins of the T-800 Arnold would embody later in the timeline.  With Terminator: Genisys, John (next played by Jason Clarke) and Kyle (played by Jai Courtney) arrive at the future point where humans travel back in time to prevent Skynet, and in that timeline John encounters his own problems, and Kyle returns to a modified version of the past where Sarah (played by Solo: A Star Wars Story and Game of Thrones star Emilia Clarke) is working with a T-800 (again played by Arnold, and again as a good guy) to prevent the Skynet future apocalypse from happening.

Welcome to the day after Judgment Day.

It’s now 35 years since we first heard the message from Kyle Reese given to Sarah Connor, “There’s no fate but what we make for ourselves.”  Producer James Cameron is back, with Tim Miller (Deadpool) directing the autumn theatrical release Terminator: Dark Fate This time we’re told audiences are supposed to ignore everything that came after Terminator 2, and substitute this next chapter, similar to the “picture hopping” the Halloween movie franchise has become known for.  The original Sarah Connor is back battling a Terminator.  Newcomer to the series, Mackenzie Davis is one, “almost human.”  And Gabriel Luna plays another, making them the faces of the next Terminators, following in the footsteps of Arnold, Jason Patrick, Kristanna Loken, Byung-Hun Lee, and Jason Clarke.

Check out this new poster for the film and the first trailer for the sixth Terminator flick, Terminator: Dark Fate:

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Review by C.J. Bunce

Credit for the success of Blade Runner 2049 as a worthy sequel to 1982’s Blade Runner is a shared prize for director Denis Villeneuve (Arrival, Sicario), the writers, including screenwriter Michael Green (Logan, Alien: Covenant), source material creator Philip K. Dick, and original Blade Runner screenwriter Hampton Fancher (The Mighty Quinn), plus at least two dozen other unnamed creators whose early science fiction works were mined for the story.  Predictable, derivative, slow-paced, and overly long, Blade Runner 2049 still lands as a solid sequel and will no doubt please fans loyal to the 1982 film.  The beauty of the sequel is the earnest, ambitious effort of Villeneuve under the eye of executive producer and original Blade Runner director Ridley Scott to give the story a reserved touch.  The sequel has the now classic dystopian look of the Mad Max or Terminator: Salvation variety, stretching the original Syd Mead futurism and punk noir vibe into a different but logical new direction–think Blade Runner with the lights turned on.

From the first scene Villeneuve & Co. dig in to not just sci-fi tropes but cyborg heavy themes that sci-fi fans know very well from similar explorations in countless books, television series, and films since the early 1980s, when the idea of adapting something like Dick’s novel Do Androids Dream of Electric Sheep? into a big budget film was something less familiar to film audiences.  The filmmakers touch on many classics–Frankenstein, Bride of Frankenstein, Pinocchio, Shakespearean tragedy–to countless episodes of the Star Trek franchise (lead character and Replicant K/Joe played by Ryan Gosling revisits several direct themes the android Data explored in Star Trek: The Next Generation).  More than ten minutes is spent revisiting the latest technology called an “emanator” that Star Trek Voyager fans will be familiar with as the Emergency Medical Hologram’s “holo-emitter,” a device allowing holograms to move around the world.  What in the early 1980s may have wowed audiences is here not so eye-popping because of the legacy Trek tech called the holodeck.  But none of these flashbacks to sci-fi’s past really takes anything away from the elements re-used in Blade Runner 2049 because they are all stitched together into a clean story.  To some it will be a Where’s Waldo? of sci-fi storytelling and to others the simple nostalgia of exploring Isaac Asimov’s themes of the Robot and the Self will be worth a revisit.

Many questions are asked in the lengthy 2 hour-and 43 minute-long film, and some, but not all, will be answered, disappointing a few loyal fans of the original.  Deaths of characters and actors since the original limit the return of certain characters from the original, but where they happen it’s done right.  One scene, however, is a complete misfire–a character walked onto the screen to the gasp of this reviewer’s theater audience, only to find it wasn’t really who was expected based on the build up of the scene.  But the biggest misfire is Villeneuve’s use of sound and score.  Villeneuve turned to Benjamin Wallfisch and Hans Zimmer for the musical score, unfortunately creating a dreadful use of sound in the film, compared to the original film’s excellent score by Vangelis.  Where the use of Vangelis’s synthesized cautious, futuristic melodies took a backseat to story and dialogue in the original, here Wallfisch and Zimmer lean on dissonant John Cage-esque chords and blare noises like someone sitting on a piano or a kid plugging his guitar into an amp for the first time, over and over, at full volume–the aural equivalent of J.J. Abrams’ lens flares.  The poor sound takes away from a visual work that could have benefitted from a closer look at the use of sound in the original.  I.e. take at least one earplug along, especially in an IMAX or other digital theater.

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