terminator salvation review
Terminator Salvation attempts admirably to take the franchise in a bold new direction, missing the mark ever so slightly. While director McG is known for comparatively lighter fare including the early-2000’s Charlie’s Angels films and 2017’s The Babysitter and its sequel (yes, The Babysitter got a sequel), Salvation has a grimy quality well suited to the terminator universe. It is arguably the best and most visually interesting big screen adaptation of terminator outside of T1/T2. 2019’s Terminator: Dark Fate is a better film than it gets credit for, but opening with John Connor’s death and giving the most famous terminator a day job are at best curious story choices. Terminator Salvation is set entirely during the throes of the human-robot war previously glimpsed only in flashback. The decision is an inspired one and the Book of Eli-like post-apocalyptic setting – the two films debuted within a year of one another - comes across as suitably sparse and treacherous. The film is a feast for the eyes if nothing else. It can’t be overstated how the cinematography, tone and overall look of Terminator Salvation are its strengths and likely why the film almost doubled its $200 million budget. It falters however with a meandering story and muddled script, both of which lack the heart, cohesion and focus of the first two films. We should probably move on from expecting these terminator sequels to reach T2 levels of quality and resign ourselves to appreciating those that chart their own path and don’t insult our intelligence. With that in mind, I can confidently state that Terminator Salvation is a fun and lively watch, especially across the first two acts. Its an ambitious attempt to move the story forward with a look that stands out from the pack. Both the hydrobot and terminator motorcycle are outstanding additions to the franchise that don’t get their fair due.
Terminator Salvation receives a score of 6/10 for general audiences and a 7/10 for sci-fi wonks/cinematography stalwarts.