Arnold’s biceps is something that doesn’t need any visual effects, it looks fabulously magnetic in an IMAX screen.
The director Tim Miller’s version of Terminator is well.. Tim Miller-esque. Also, over the years we’ve all had our versions of Terminator. Just like we would think of any other infamous franchise that catches our eyes.. nay, imagination, this one too has revolved around our dreams gruesomely, violently, R rated-ly. And this addition to the series would be the closest to my wishes and also hence is something I am now physically repellent with. It’s not their fault, it’s just that they had something else in their mind. But what they had, have isn’t anything impressive or fresh. It might be politically correct just as every other commercial film is nowadays.
What they have and are milking is potentially nothing and what’s potentially empty are the characters and what drives them, nullifying whatever emotions we are told to care for. The comic book milieu is the only thing that makes sense, that justifies the reason of this chapter’s existence in a series that is pummeling down just as the respect for James Cameron’s films are rocketing up. The latter chapters lacks the originality, the bold parlour tricks of James Cameron, who used to personify these so called machines and technology into a nail-biting edge-of-the-seat intense drama.
You know the only thing I like about this chapter is that it is the perfect reminder of the original films. And why they worked. What was at the heart of it. The answer is Arnold Schwarzenegger’s presence on screen. The film lightens up in a whole new way after it comes knocking at his door. He electrifies the screens with tears and humility and of course with the fact that he is really funny. Terminator: Dark Fate does justice to greatly elaborative action set pieces, the other stuff, the part where they have to speak, you might as well mute it and will still be understand the entire known hokum.