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dudelovebaby

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xx Terminator Salvation
« Thread started on: Jun 9th, 2009, 9:29pm »

There was some good stuff to it. The bleached out look really worked. The lighting worked. All the technical people eanred their keep. Anton Yelchin was how I expected Kyle Reese to be. Sam Worthington wasn't too bad, it's like they intentionally put all his shitty scenes in the trailer for some reason. The designs of the machines we'd already seen where beautiful, as well as the T-600's (Though I couldn't see much difference between the T-700's and the T-800's).

Bale was awesome... when he kept his mouth shut. When he started yelling or raspy whispering, it was embarassing to watch. I was thinking they should've brought back Nick Stahl or gotten Bruce Willis, he can do intense and he's actually likeable. The remainder of the cast was either terrible or non existent.

The script was shambles and probably wasn't helped by the bizarre editing. The third act was the prime example, some of the worst editing I've ever seen. One second Bale is getting bodyslamed (More on that in a second) and then the next he's walking down a corridoor looking for Kyle, what's worse is it was intercut with Marcus in the Skynet Central computer where he goes from mangled in combat fatigues to waking up repaired in a hospital gown with no transition whatsoever.

The music was weak. Yes, I thought I was indeed watching The Chronicles of Riddick. If Brad Fiedel didn't want to do it, then Robert Rodriguez should've done the production a favour, because his Planet Terror score was much closer to Fiedel's work than either Bletrami or Elfman got. At least Beltrami produced that wonderful etheral score in the scene where the world blew up in T3, nothing like that here.

PG-13, was definitely a massive detriment to the film. See what happens, when no one listens to me? Why were the Terminators auditioning for WWE? If a Terminator grabs you by the neck, you're fucking dead, not bodyslammed, fucking dead! I think quite a few of the set peices where closer to I, Robot and Transformers and nowhere near what Terminator should be. That rediculous Transforminator thing which somehow managed to sneak up on everyone, despite not being anywhere in the establishing shot was the one thng they actually should've left on the cutting room floor. Totally out of place. Looking at the audience in my theater, everyone was in their 20's and 30's, everyone booed the Harry Potter trailer, everyone cheered the Maxim shot of Megan Fox in the Transformers trailer. Going but what I've heard, that was every theatre playing T4. So it's not like it was even worth pussifying the movie. In the end everyone lost.

McG once described his ending as thought provoking and elliptical. I have another word: hamfisted. The ending provoked nothing, it was completely void of any emotional resonance. Why should the audience be sad if none of the characters looked like they cared much?

The best part was definitely the big men themselves Arnold and Roland. The collective manly roar in the theater when Schwarzenkickenger start making Christian Bale his bitch was quite the experience, as was the laughter they got when they killed the T-600 that could've offed Connor and won the war. But I just wanted him to kill everything in sight, no matter what it was! I must admit, it was quite emotional to see Arnie kicking ass after so long, even if it was a fake CGI Arnie.

Although it does make one wonder, why they didn't make The Curious Case of Benjamin Button with Arnie and Roland.

I didn't really hate it. I didn't much like it either. There was just none of the personality or soul that made the first two the stone cold classics that they are and the third one a fun ride to armageddon.

But McG really needs to change his name to NBG (Aussie Construction slang. No Bloody Good)
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xx Re: Terminator Salvation
« Reply #1 on: Jun 11th, 2009, 11:25am »

Alrighty, I LOVED this movie. My only requirement for this not sucking was to not be another jokey Terminator 3. Now I know nothing really happened plot wise, but it was a fun ride and awesome to see the war against the machines. Whoever decided the T-800 should be the end fight should be kissed with a mouth full of scotch. That was amazing!
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xx Re: Terminator Salvation
« Reply #2 on: Jun 14th, 2009, 11:32pm »

I didn't mind the jokey Terminator 3. Arnold hamming it up for a paycheck is far more entertaining than Bale was in this movie.

Generally I'd like to see some terminations in my Terminator movie.
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xx Re: Terminator Salvation
« Reply #3 on: Jun 16th, 2009, 10:09pm »

It made the end fight much more amazing to me. I wasn't numbed to the T-800........ when he showed up I flipped out.
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xx Re: Terminator Salvation
« Reply #4 on: Jun 21st, 2009, 11:07am »

This past week I've seen Terminator, The Hangover, The Proposal, Up and Land of the Lost. Excluding LotL, I'd say they all delivered pretty well on what I expected.

I'm not sure if it was public knowledge that Schwarzenegger was gonna be in this (yes, he was in it. I'm not gonna say CGI Arnold because damnit that was some great CGI. It was really him!) but I didn't know ahead of time and, while watching the film, had half-heartedly convinced myself that they could probably do it with CGI but then I dropped the thought when I considered the legallity of using his face and having to pay him and such.

Anyway, once he came on screen it was awesome! I honestly talked about that sequence as much as I could for the next two days. I did not, however, mention any of the other films (hadn't watched Proposal yet but still wouldn't have mentioned it) that I saw save for a blog I wrote on "Up" being a life-changing experience (stay tuned for that).

Is Terminator: Salvation great? Nah...

Does it pass or fail? Pass.

It's below the first two films. But that's like saying that Chinese Democracy is below Appetite for Destruction. Duh! The first two are classics. It would take stars aligning and divine intervention for anything after Terminator 2 to top Terminator 2.

It does, however, do a great job of being better (way better, IMO) than Terminator 3. Was T3 campy? Yeah. Was it great while watching it? Yeah. But we had been starved of Terminator and Schwarzenegger in something watchable for 10+ years at the time. It's like Eddie Murphy's starvation/cracker joke. Now we had both just a few years ago so we aren't exactly starving for a Terminator movie. That weighs strongly against this film. And I thought it would suck ass.

Really, aside from Equilibrium and Batman, there's nothing that Bale has done that I liked. And I don't even give him credit for playing a good Batman. I'm also terrified of him being cast as Solid Snake. So, I knew he wasn't gonna deliver. I'm just glad he didn't do that shitty Batman voice.

Arnold's 2 minutes of screen time were a better two minute period than any such period in T3. I'm just glad he didn't tell someone to talk to the hand or walk into a gay bar. I'm also glad that, "I'll be back," was only uttered once in this film. Things like "You Could Be Mine" playing on John Conner's boom box made sense and brought back memories. It wasn't camp because it's what he liked then so it's logical that now that the world is all fucked he'll listen to the good times.

It's 2, 1, 4 and 3. The movie was good enough.

on Jun 14th, 2009, 11:32pm, dudelovebaby wrote:
Generally I'd like to see some terminations in my Terminator movie.


Also, this. There should've been more Terminators killing people. It always hit you when the Terminator or T-1000 or T-X kills that first person and you're like, "shit..." It just makes them a machine to the audience.

TheBatSquad Fact #666: In general, the 'Squad's members like rock music. midLfinger once started a rap music thread and got like... maybe two comments.
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xx Re: Terminator Salvation
« Reply #5 on: Dec 17th, 2009, 8:48pm »

the previews/reviews/opinion of everyone i know that has seen it were enough for me....dont think im even gonna waste my time
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Will

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xx Re: Terminator Salvation
« Reply #6 on: Jun 27th, 2012, 09:49am »

Quote:
McG once described his ending as thought provoking and elliptical. I have another word: hamfisted. The ending provoked nothing, it was completely void of any emotional resonance. Why should the audience be sad if none of the characters looked like they cared much?


The film's narrative and thematic contrivance doesn't work emotionally.

On an intellectual strata, it's more impressed with itself than it has a right to be. It's Screenwriting (hackhackhack) 101 so far as psychological engagement and thematic complication.

Bale exacerbates these problems; instead of being an antipode to a world destroyed and dominated by machines, he's as monotonous as a sub-routine. Scream. Scream. Scream. It's a soulless performance.

The rebuttal would be, I'm sure, that this was intentional and matches the film's thematic arc and irony (the man fighting machines and becoming one, only finding his humanity, at the end, from a machine). But I agree. A terrible compound is still a compound, no matter how ill-considered or underwhelming the results.

That is the film, and perhaps Bale: irony without wit. An oxymoron.

It's about as perfunctory as you would imagine a Terminator film made by people with no imagination would be. Post-nuclear cliches abound. Equating/dividing as a boring Terminator movie, one of the worst road movies ever made and the worst Mad Max has ever been.

About what you'd expect from a major studio product directed by McG.

Visually, Salvation is a total disappointment. Desert daylight scenery with a sunny/sandy color palette feels inappropriate as tonal output and logical fallout (nuclear fallout). It's again a dog emotionally and psychologically. The ugly transgender boy that would be Prom Queen, who gets multiple scholarships despite miserable grades. Am I talking about the movie or McG as a director? Maybe he is an auteur.

What happened to nuclear winter and the icy (metallic) post-apocalyptic blues of Cameron's future war scenes? Visual design is storytelling/theme/tone/psychology. Salvation takes a relatively good tableau, already devised by someone else, and ignores it. It's a visual-reboot for no reason other than incompetence. A film that doesn't understand it's franchise, nor even (far more damagingly) its modality.

Production design is of the piece, however. A dull desert as visual nod to the film's ever-present lack.

Quote:
The best part was definitely the big men themselves Arnold and Roland. The collective manly roar in the theater when Schwarzenkickenger start making Christian Bale his bitch was quite the experience, as was the laughter they got when they killed the T-600 that could've offed Connor and won the war. But I just wanted him to kill everything in sight, no matter what it was! I must admit, it was quite emotional to see Arnie kicking ass after so long, even if it was a fake CGI Arnie.


Christian Bale: upstaged by a two-minute cameo froma CGI Arnie. I suppose we know who the franchise belongs to.

He deserves blame. So does McG. Very directly the character has no emotional pivot, not in a way that connects with the audience. I liked John Connor better as a twelve year old boy. Future War John Connor in T2 -- all 30 seconds of him -- is far more iconic and interesting than Bale in two hours. Nick Stahl was better.

Still, I suspect that this is a problem that runs deeper in The Terminator brand. All the way back to Cameron.

The real star of these movies is Schwarzenegger. And thus the terminator is the star.

Cameron's hardware fetishism is usually tempered, as (phony) argument, about the dangers of technology. Typically, he romanticizes squalor and vilifies technology, with Connor as a very literal saviour that also happens to feed into Cameron's own god-complex (John Connor>James Cameron>>>Jesus Christ).

The cleverness of T2 is in not only humanizing the terminator, but making him a father. The figurative/literal fusion here tells us that Cameron gets the subservience of Connor to Cyberdyne and the terminator: without them, he could not exist. What is Connor's relevance without the T-800. What is the franchise's worth without Schwarzenegger?

Cameron's own lifestyle, of course, belies his artistic concerns about technology's limitations and possible consequences. In actuality, it could be argued that his visual acumen and understanding of the medium of film from that milieu (arguably one of the best of his generation) overwhelms his limited ability as a hack screenwriter, with resultant films being a testament to hardware as superior form rather than the overcooked, granola/hippie, PC egalitarianism being spouted by his dimwitted protagonists.

Avatar is a perfect example: a corporate piece of schlock denouncing corporatism and Western Technology while idealizing the "wise" Na'vi in all their native, pre-industrial splendor. Come see how terrible technology is, in Glorious 21st Century 3D!

Even the name 'Na'vi' gives away Cameron's real worldview: is that Na'vi or naive? Back to The Garden, where G-d (JC) passes judgment. The message is, hoi polloi, that you should live in squalor while Cameron location scouts in one of his private helicopters. As a film, Avatar is great advertising for technology, and little else. Other than the cultural osmosis of Western Evil, of course. A middling propaganda film for Middlebrow America.

But perhaps his ultimate expression remains Titanic, a film that poses as an epic romance when all it really cares about is meticulous production design. It's a tech fetish film through and through and,, perhaps, a real love story: Cameron's love of that old ship that sank before it could get old. The Maiden Voyage Gone Tragically Wrong is almost the stuff of bodice ripper in Cameron's lensing. A cheesy romance is appropriate as expression of the director's lavish concerns with the ship's beauty.

Conceptually, the steerage boy dicking society chick, is ridiculous teen girl fantasy. But it's also telling allegory for Cameron's overall technique: a caste system, built into the technology he's so obsessed with.

In other words, cheesy story is one thing, but thematic point and presence comes with production design. Egalitarianism was not part of the deal on the Titanic, nor is it really what Cameron idealizes in his filmmaking. That is, Cameron believes in technological hegemony. He believes in great advances through tech, and he loves it. He just thinks that most people should be in steerage with Jack or living in ignorance like the Na'vi.

And if the regular schmuck has the native filmmaking ability of McG, he may have a point.
« Last Edit: Jun 27th, 2012, 10:00am by Will » User IP Logged

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