![]() Much has been made in promotional materials about the return of Linda Hamilton’s Sarah Connor, a character of primal, protective, maternal instinct, here reduced to an angry alcoholic who really likes crisps. It’s a thoroughly contemporary blockbuster, fuelled by nostalgia, fan service and plastic CGI spectacle a soft reboot that pays lip service to questions of illegal immigration, gender politics, worker obsolescence, and, in Mackenzie Davis’ augmented cyborg Grace, non-binary identification, without saying anything especially interesting about any of them. ![]() But it’s a better film – maybe even a half-decent one – when compared to what came later: the feature-length video game cut-scene that is Terminator Salvation and the gibbering incoherence manifest in the very title of Terminator Genisys. It even pales in comparison to the affected navel-gazing of once-a-middleweight-contender Jonathan Mostow’s threequel from 2003, Rise of the Machines. Terminator: Dark Fate isn’t a good film, at least when held up against the clockwork precision of 1984’s The Terminator, or the rare, character-driven monolith of action staging that is its 1991 sequel, Terminator 2: Judgment Day. ![]() If you want James Cameron and all you can get is Tim Miller… ![]() Tim Miller, director of the commercially successful Deadpool and now this sixth entry in the Terminator franchise, isn’t the same as James Cameron. ![]()
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