Terminator Genisys

Everything with measure is okay, as long as you don't start thinking about it. Because getting into this mess of a script is really tricky, because all the pasts, futures, presents, alternative pasts, etc., will make your head spin, and that's a shame for a property like Terminator. However, as a compilation of the best shots and iconic scenes from the previous four parts, it works quite well. Unfortunately, in general, it totally lacks the feeling of the second one, it doesn't have the drive and the well-crafted eye-candy visuals from the third one, and you won't find the gloomy post-apocalyptic atmosphere from the fourth one either. Where are the times of Kristanna Loken and her battles with Arnold, because after 12 years, we haven't really moved forward in terms of technology! For example, there's nothing like awesome truck scene. And that is something to think about. (16/07/2015)

A pretty good instalment. There is just the issue that the story with its leaps from the past to the future and from the future to the present made such a mess of it that it is hard to set it to the timeline of the previous instalments. Especially of the third instalment, which it completely ignored. On the other hand, it is made better by Arnold Schwarzenegger, whose sparse acting is good enough to not only entertain, but also awake some nostalgia. Just enough for three stars. (29/03/2016)

A narrative mess and basically an unnecessary variation on the already sufficiently dissected Terminator legend, which, despite everything, works quite smoothly and becomes at least a very entertaining, B-grade sci-fi action flick. It's better not to think about the frantic time twists, given the existence of previous episodes, and the suffocating atmosphere of inevitable fatality has been replaced by action, situational humour and a number of necessary postmodern references, but maybe that's why Terminator Genisys pleasantly surprised me and didn't disappoint; it moves along, there's always something going on, the young cast is at least watchable, and the great Arnold, in my opinion, lived up to his questionable presence in the film by more than a measure, and once again strongly reminded the world that he alone is the one and only Terminator. And to be honest, maybe that’s all it was about. 65% (15/09/2015)

An absolutely un-charismatic film. It’s also archaic in the worst possible way. I'm sorry, but if I got my hands on a legendary franchise and a hundred and fifty-five million to spare, I'd go the route of innovation, not recycling. To hell with logical lapses and rewriting timelines, that's the least of the film’s evils. What bothers me about Genisys is that they built a bunch of cheap actors around Arnold (who’s the only goof thing!) and wrote absolutely bloodless characters who just go through bigger or smaller action sequences, so that you can clearly see where it will all lead. By the way, this whole dramaturgical system of most studios, i.e., going for craft certainty, is perhaps the most striking here. This is because of Alan Taylor, who obviously knows how to keep the crew on set under control, just like I do with my cat when I don't want him to walk on the table (do remember any film that had the name of the director of the action scenes in the opening credits?). If the sterility of Thor: The Dark Worldwas kept afloat by Kevin Feige's production scheme, in this film Taylor shows his creative cluelessness to the fullest and the new Terminator looks as if the desperate editors in the editing room glued together something that should at least resemble a two-hour film. PS: The fact that Cameron praised it means that either his brain has definitely turned blue or he's a sell-out. (08/08/2015)

The worse the film, the better you know the rules of its narrative. What starts out as promising entertainment that boldly requires viewers to be well familiar with the previous films and to find their bearings in several time planes soon turns into tiresome recycling of previously utilised ideas and the same narrative formula. Furthermore, the filmmakers didn’t make any effort to disguise the fragmented nature of the episodic narrative. The elimination of a villain in one period is followed by a shift to another period, in which another villain is taken down without really addressing what happened in the preceding minutes. The most extreme bits of screenwriting laxity and the overall mechanical nature of the film, in which you won’t find much that is sincere other than from Arnold, take the form of additional patching of holes in the logic with dialogue explaining what happened when the camera wasn’t running. Why bother with the more skilful incorporation of explanations into the ongoing plot when you can resolve everything ex post with a few horribly stilted lines. The gritty 1980s stylisation is luke-warm due to the PG-13 rating and mainly relates only to how the film looks. Because of the hackneyed characterisations and bland actors (or rather, blatantly bad actors, which is true mainly in the case of Courtney, who is simply unable to portray complex emotions), the mediocre melodramatic storyline with “daddy” and his adopted daughter (a tough girl who quickly turns into a victim who has to be protected and rescued) doesn’t work, nor does the attempt to add depth to the characters’ motivations. Arnold, who is the only one of the actors who clearly rises above all of this, can scowl a lot, but he can’t give any firm shape, order or meaning to this trash heap of worn-out blockbuster ideas. Unfortunately, the film is not pulled out of its misery even by the action scenes that form its foundation and which are filmed in a completely dull manner, without suspense, surprise or regard for 3D technology. If a two-hour recognition game of “find all of the (visual) quotes from Cameron’s movies” is enough to make someone happy, I wish them pleasant viewing. Personally, however, I would rather watch those Cameron films in their full-blooded form instead of this watered-down mash-up. 40% (03/07/2015)