jeddjong
Joined Feb 2011
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jeddjong's rating
The Terminator franchise is a defining one in the genres of sci-fi, action and horror. While the imagery and the catchphrases have become ingrained in popular culture, the film series has struggled to recapture the glory of the first two entries. The underrated spinoff television series was sadly short-lived. James Cameron, who directed the first two films and helmed the theme park attraction but has had no direct involvement in the series since then, returns as a producer for this sixth film.
Terminator: Dark Fate learns from the failure of the previous entries. The most recent Terminator film before this, Terminator: Genisys, was a jumbled mess of multiple timelines and attempted to remix beloved elements of the series, alienating fans in the process. Dark Fate benefits from more of a back-to-basics approach, presenting a straightforward story without relying too much on exposition. It functions as a direct sequel to Judgement Day, with all the other films taking place in alternate timelines. This is not dissimilar to 2018's Halloween, which was a direct sequel to the 1978 movie and ignored the many sequels that were made in the intervening years.
The film's biggest asset is Linda Hamilton, who has not appeared in any of the films since Judgement Day. This is much more than the glorified cameo which we could've gotten, with the Sarah Connor character front and centre. Hamilton took some convincing to come back on board, and the film really wouldn't have worked if she had said no. Hamilton easily conveys the no-nonsense toughness fans of the series know and love, but also delivers a genuinely good performance beyond that. The R-rating means that she gets to swear a whole lot, and she's amazing at it. There are several moments when just a look from Hamilton tells us so much. This is a character who has been through the wringer and would like the world to think she can just shrug it off, but there is a lot of sadness and pain that she's internalised - when those shards are visible, that's when Hamilton's immense contribution to the movie really registers.
Arnold Schwarzenegger appears in more of a supporting capacity, but completely steals the show when he's onscreen. The film wisely makes use of Schwarzenegger's comedic talents while also preserving the formidable physical power associated with the T-800 character.
One scene in the film showcases the most convincing digital de-aging/face replacement effects I've ever seen.
The film clearly aspires to the heights of Judgement Day, so it is noticeable when it falls short of those heights. There are moments when the film is almost emotional, and while there are some moving beats, there is nothing nearly as sublime as "I know now why you cry, but it's something that I could never do." While the stronger connection to the first two films anchors Dark Fate in the tone and mythos of the earlier movies, it also prevents the movie from being too innovative on its own terms. Also, much of the events in Judgement Day seem to have been rendered moot - not quite to the level of "Ripley finds Newt and Hicks dead at the beginning of Alien 3," but it does approach that.
While some action sequences are brilliantly executed, others feel just a touch too synthetic. The visual effects are leaps and bounds over the somewhat unpolished work seen in Genisys, but there are still moments when one thing made of CGI is being thrown into another thing also made of CGI. Out of necessity, the earlier films made ingenious use of practical animatronic effects and miniature models. Director Tim Miller of Deadpool fame is a co-founder of Blur Studio, best known for making animated cutscenes and cinematics for video games. The action sequences in Dark Fate can sometimes come off as a little too video game-esque, but Miller does often demonstrate a keen awareness of how to place elements in space to create action sequences.
The Dani character is sympathetic and Natalia Reyes gives the role her all, but she can sometimes come off as a little whiny and is not written that well.
Another way that the film echoes Judgement Day is in its villain, the shape-shifting Rev-9. Like Robert Patrick, Gabriel Luna is less conspicuous in a crowd than Arnold Schwarzenegger, meaning the Rev-9 is more convincing as an infiltration unit. It also has a neat gimmick of being able to separate itself into liquid metal outer shell and endoskeleton, allowing it to perform tag-team attacks. Rev-9 is perhaps a touch too indestructible, such that the action sequences become a little repetitive.
Mackenzie Davis' Grace is a great addition to the canon. This reviewer enjoys seeing actors whom one wouldn't typically associate with action movies take on action-heavy roles. Davis underwent a complete physical transformation to play the muscular, angular Grace. There is a tragedy to the character, who has sacrificed her physical autonomy for the cause, so she is always sympathetic.
Terminator: Dark Fate is in a way commenting on the history of the series. There is so much that's memorable about the first two Terminator films that it's hard to resist the temptation to make constant references to them. Yes, Sarah Connor does say "I'll be back", but Dark Fate demonstrates restraint and refuses to lean on the series' storied past as a crutch.
Terminator: Dark Fate is not a film that strictly needs to exist, but by building a strong connection to the second film and by getting Linda Hamilton back in a starring role, it satisfyingly echoes the franchise at its best.
Terminator: Dark Fate learns from the failure of the previous entries. The most recent Terminator film before this, Terminator: Genisys, was a jumbled mess of multiple timelines and attempted to remix beloved elements of the series, alienating fans in the process. Dark Fate benefits from more of a back-to-basics approach, presenting a straightforward story without relying too much on exposition. It functions as a direct sequel to Judgement Day, with all the other films taking place in alternate timelines. This is not dissimilar to 2018's Halloween, which was a direct sequel to the 1978 movie and ignored the many sequels that were made in the intervening years.
The film's biggest asset is Linda Hamilton, who has not appeared in any of the films since Judgement Day. This is much more than the glorified cameo which we could've gotten, with the Sarah Connor character front and centre. Hamilton took some convincing to come back on board, and the film really wouldn't have worked if she had said no. Hamilton easily conveys the no-nonsense toughness fans of the series know and love, but also delivers a genuinely good performance beyond that. The R-rating means that she gets to swear a whole lot, and she's amazing at it. There are several moments when just a look from Hamilton tells us so much. This is a character who has been through the wringer and would like the world to think she can just shrug it off, but there is a lot of sadness and pain that she's internalised - when those shards are visible, that's when Hamilton's immense contribution to the movie really registers.
Arnold Schwarzenegger appears in more of a supporting capacity, but completely steals the show when he's onscreen. The film wisely makes use of Schwarzenegger's comedic talents while also preserving the formidable physical power associated with the T-800 character.
One scene in the film showcases the most convincing digital de-aging/face replacement effects I've ever seen.
The film clearly aspires to the heights of Judgement Day, so it is noticeable when it falls short of those heights. There are moments when the film is almost emotional, and while there are some moving beats, there is nothing nearly as sublime as "I know now why you cry, but it's something that I could never do." While the stronger connection to the first two films anchors Dark Fate in the tone and mythos of the earlier movies, it also prevents the movie from being too innovative on its own terms. Also, much of the events in Judgement Day seem to have been rendered moot - not quite to the level of "Ripley finds Newt and Hicks dead at the beginning of Alien 3," but it does approach that.
While some action sequences are brilliantly executed, others feel just a touch too synthetic. The visual effects are leaps and bounds over the somewhat unpolished work seen in Genisys, but there are still moments when one thing made of CGI is being thrown into another thing also made of CGI. Out of necessity, the earlier films made ingenious use of practical animatronic effects and miniature models. Director Tim Miller of Deadpool fame is a co-founder of Blur Studio, best known for making animated cutscenes and cinematics for video games. The action sequences in Dark Fate can sometimes come off as a little too video game-esque, but Miller does often demonstrate a keen awareness of how to place elements in space to create action sequences.
The Dani character is sympathetic and Natalia Reyes gives the role her all, but she can sometimes come off as a little whiny and is not written that well.
Another way that the film echoes Judgement Day is in its villain, the shape-shifting Rev-9. Like Robert Patrick, Gabriel Luna is less conspicuous in a crowd than Arnold Schwarzenegger, meaning the Rev-9 is more convincing as an infiltration unit. It also has a neat gimmick of being able to separate itself into liquid metal outer shell and endoskeleton, allowing it to perform tag-team attacks. Rev-9 is perhaps a touch too indestructible, such that the action sequences become a little repetitive.
Mackenzie Davis' Grace is a great addition to the canon. This reviewer enjoys seeing actors whom one wouldn't typically associate with action movies take on action-heavy roles. Davis underwent a complete physical transformation to play the muscular, angular Grace. There is a tragedy to the character, who has sacrificed her physical autonomy for the cause, so she is always sympathetic.
Terminator: Dark Fate is in a way commenting on the history of the series. There is so much that's memorable about the first two Terminator films that it's hard to resist the temptation to make constant references to them. Yes, Sarah Connor does say "I'll be back", but Dark Fate demonstrates restraint and refuses to lean on the series' storied past as a crutch.
Terminator: Dark Fate is not a film that strictly needs to exist, but by building a strong connection to the second film and by getting Linda Hamilton back in a starring role, it satisfyingly echoes the franchise at its best.
In 2014, audiences learnt the back-story behind Maleficent, the villainess of Disney's 1959 animated film Sleeping Beauty. Rather than being just a cackling sorceress, Maleficent painted its title character as someone who rose from tragedy and betrayal to form a complex bond with the young Princess Aurora. Directed by Joachim Rønning (Pirates of the Caribbean: Salazar's Revenge), this sequel continues that story, pitting Maleficent against a conniving, ruthless new foe.
Angelina Jolie continues to be all sharp-cheekboned perfection as Maleficent. We were afraid that she might phone in it given that this is a sequel, but she still appears to relish the role. Not only does she gets numerous fabulous costume changes, Maleficent goes on a journey of discovering, getting acquainted with her people and learning about their customs and beliefs. There is a conflict between her allegiance to her fae kin and to Aurora, which gives the powerful character something to struggle with.
Much of the film works because of Michelle Pfeiffer. Casting her opposite Jolie was an inspired move. The early promotional materials tried to hide it, but there's no point beating about the bush now - Queen Ingrith is the "Mistress of Evil" of the title. Pfeiffer plays the villain with sneer and swagger hidden beneath a regal façade, with shades of her witch character from Stardust sometimes visible. Coming off like a PG-rated Cersei Lannister, it's an absolute hoot.
There's a lot going on in the plot of the movie, so it is to writers Linda Woolverton, Noah Harpster and Micah Fitzerman-Blue's credit that the movie never loses sight of its emotional core: the relationship between Maleficent and Aurora. They might not be on the same page for much of the film, but it cannot be questioned that Maleficent deeply loves and cares for Aurora, something Ingrith winds up exploiting.
Just as in the first film, the show is stolen by Sam Riley as Diaval, Maleficent's shape-shifting sidekick. Riley manages to be both cool and
While the visuals are often mesmerising and transporting, the film does lean very heavily on computer-generated imagery. This is expected of a fantasy adventure film, but some of the characters do seem unnatural. The Fairy Godmothers Knotgrass (Imelda Staunton), Thistlewit (Juno Temple) and Flittle (Lesley Manville) return from the first film, and their almost-human facial features sometimes cross over into the dreaded uncanny valley.
Prince Philip is boring, but then again, this is something inherent in the source material. Brenton Thwaites, who was busy filming Season 2 of Titans, is replaced by Harris Dickinson, who constantly seems a little bit confused and flat. However, this is also a sign that the film understands that Philip is not the main character, and that he does not have to be the hero to save the day. Chiwetel Ejiofor is almost completely wasted in a relatively small supporting role.
The action sequences in Maleficent: Mistress of Evil are grand and expansive. Like most big-budget high fantasy projects these days, it seems more than a little derivative of Game of Thrones, but the big battle scenes are dynamic and lively. The movie gets surprisingly dark, with the villain's plot involving genocide by way of biological warfare. However, the movie still has a bounce and a sense of humour to it and is never too self-serious the way something like Snow White and the Huntsman and its sequel The Huntsman: Winter's War sometimes were. The big climactic battle takes place in broad daylight, which is a relative rarity in films of this type.
This film has a completely different design team than the first but maintains a sense of visual continuity while also giving us something new. The costumes by Ellen Mirojnick are stunning, especially Maleficent's battle outfit which is a sexy, elegant body paint-style number. Production designer Patrick Tatopolous creates some gorgeous fantasy environments, chief of which is the hidden fae sanctuary comprising mini-environments which have different climates.
Some of it may be overly familiar, but there's still more creativity to this than to Disney's live-action remakes which are obligated to retrace the steps of their animated forebears. Angelina Jolie and Michelle Pfeiffer pitted against each other is worth the price of admission.
Angelina Jolie continues to be all sharp-cheekboned perfection as Maleficent. We were afraid that she might phone in it given that this is a sequel, but she still appears to relish the role. Not only does she gets numerous fabulous costume changes, Maleficent goes on a journey of discovering, getting acquainted with her people and learning about their customs and beliefs. There is a conflict between her allegiance to her fae kin and to Aurora, which gives the powerful character something to struggle with.
Much of the film works because of Michelle Pfeiffer. Casting her opposite Jolie was an inspired move. The early promotional materials tried to hide it, but there's no point beating about the bush now - Queen Ingrith is the "Mistress of Evil" of the title. Pfeiffer plays the villain with sneer and swagger hidden beneath a regal façade, with shades of her witch character from Stardust sometimes visible. Coming off like a PG-rated Cersei Lannister, it's an absolute hoot.
There's a lot going on in the plot of the movie, so it is to writers Linda Woolverton, Noah Harpster and Micah Fitzerman-Blue's credit that the movie never loses sight of its emotional core: the relationship between Maleficent and Aurora. They might not be on the same page for much of the film, but it cannot be questioned that Maleficent deeply loves and cares for Aurora, something Ingrith winds up exploiting.
Just as in the first film, the show is stolen by Sam Riley as Diaval, Maleficent's shape-shifting sidekick. Riley manages to be both cool and
While the visuals are often mesmerising and transporting, the film does lean very heavily on computer-generated imagery. This is expected of a fantasy adventure film, but some of the characters do seem unnatural. The Fairy Godmothers Knotgrass (Imelda Staunton), Thistlewit (Juno Temple) and Flittle (Lesley Manville) return from the first film, and their almost-human facial features sometimes cross over into the dreaded uncanny valley.
Prince Philip is boring, but then again, this is something inherent in the source material. Brenton Thwaites, who was busy filming Season 2 of Titans, is replaced by Harris Dickinson, who constantly seems a little bit confused and flat. However, this is also a sign that the film understands that Philip is not the main character, and that he does not have to be the hero to save the day. Chiwetel Ejiofor is almost completely wasted in a relatively small supporting role.
The action sequences in Maleficent: Mistress of Evil are grand and expansive. Like most big-budget high fantasy projects these days, it seems more than a little derivative of Game of Thrones, but the big battle scenes are dynamic and lively. The movie gets surprisingly dark, with the villain's plot involving genocide by way of biological warfare. However, the movie still has a bounce and a sense of humour to it and is never too self-serious the way something like Snow White and the Huntsman and its sequel The Huntsman: Winter's War sometimes were. The big climactic battle takes place in broad daylight, which is a relative rarity in films of this type.
This film has a completely different design team than the first but maintains a sense of visual continuity while also giving us something new. The costumes by Ellen Mirojnick are stunning, especially Maleficent's battle outfit which is a sexy, elegant body paint-style number. Production designer Patrick Tatopolous creates some gorgeous fantasy environments, chief of which is the hidden fae sanctuary comprising mini-environments which have different climates.
Some of it may be overly familiar, but there's still more creativity to this than to Disney's live-action remakes which are obligated to retrace the steps of their animated forebears. Angelina Jolie and Michelle Pfeiffer pitted against each other is worth the price of admission.