In the three major science fiction series that were born in the 1980s, but the strange (strong) trace (line) survives (continuation) (life), both belong to the (deceased) 20th Century Fox’s "Alien" and "Predator ", the many sequels and cross-sequels launched over the long years can be said to be dazzling and mixed. And "Terminator", which my father doesn't hurt, became a goose with its throat pinched after "Terminator 2: Judgment Day", and the egg that lay quickly faded from gold to shit.
For "Terminator", the biggest limitation on its creation is the framework set by his father James Cameron: a "shit robot movie" against the ultimate killer from the future. Compared with the other two foreign visitors, this series is obviously framed in the endless loop of the concept of time travel: the purpose of fighting against fate is to create a new destiny, but this is in line with what the producer hopes. Repeated business models are incompatible.
If the future is really corrected, what will we talk about in the next episode? If there is no correction in the future, what meaning and answers do you hope to bring about the explosive chasing and tossing of cars in the previous episode?
Therefore, "Terminator" can not be regarded as a real "series of movies", it is just a self-remake and stay in place again and again. The bad sequel in the past did not have a problem with the "modernization" of CG and the big scene, but failed to upgrade/break through the nailed framework. The only breakout appeared in "Terminator 2018", but "unreconcilable creative differences" made it difficult to become the "Prometheus" of the "Alien" series.
Who can completely save "Terminator" from the vicious circle? Strong, creative, and continuous action dramas have made "Dark Destiny" one of the best action movies of 2019; however, when "Dark Destiny" comes from three screenwriters and five story creators, the voice is "Directly following the orthodox sequel of "Judgment Day", but picked up the "liquid gold bones", "transforming people" and "CG Arnold" of the first three movies, and even "Twelve Monkeys", "Terminator" as The fate of a movie is really "dark".
The "Terminators" of "Terminator" do not come from Skynet or other OEM substitutes, but from the abandonment of treatment of "Dark Destiny".
Similar to the directors of the past three "Terminator", Tim Miller also has an excellent resume in mid-budget movies. Compared with "Dark Destiny"'s budget of up to 185 million US dollars, the investment in its debut "Deadpool" is not a fraction of the former. With sufficient financial support, "Dark Destiny" provides highly intensive and highly watchable action scenes, except for the heavy sense of CG from the beginning and the end, and Mackenzie Davis's blunt and embarrassing fist embroidered legs ( The car heads over the car is simply no visual convincing), the action scenes of the entire movie are very pleasing to the eye, the new Terminator REV-9 and the actor Gabriel Runa, also easily become the biggest highlights of the movie.
Compared to the "Gemini Killer", which also costs more than $150 million, the money in "Dark Destiny" is obviously more directly and effectively spent.
However, in contrast to an excellent action drama, it is the plot that is sometimes unblocked and sometimes blocked and sometimes jumped-this is a large proportion of the screenwriters' pot-many people and many places have hard dialogues, several plot lines are not followed, and the emotions Also failed to continue. Not to mention the irritating main line of the story: the opening of the scene let Qiang Connor, who had saved two episodes, receive a lunch box, not only obliterated 345, but also erased the meaning of 12; the meaning of strengthening the existence of people is almost zero. , It’s not against the peace to replace it with ordinary people plus McGeffen.
What’s more speechless is that Sarah Connor’s great transformation from being rescued to self-saving, to breaking fate, is downgraded into an inexplicable relay race-even the whole movie is like a pair of " A remake of the script for Judgment Day.
And this seemingly weird approach is basically the same as Disney’s strategy in the new "Star Wars" trilogy: on the surface it is marketing the nostalgia of the "original crew", but it actually sells the new era pseudo Feminism-the forced transformation of classic counterpoint roles, is full of stereotypes and dissatisfaction. This is especially obvious in the change of ownership of the frustrated T-800 golden sentence "I'll be back".
This change from degrading human destiny to catering to social justice may reflect James Cameron’s change in his personal mood, but more importantly, it embodies that Hollywood as a whole is increasingly brazen in the pursuit of commercial profits. A sequel like "Blade Runner 2049" that is worthy of the status of the original will be even more rare in the future; and "Dark Fate", "Jurassic World 2" and the new "Star Wars" such as "Dark Fate", "Jurassic World 2" and the new "Star Wars" follow the trend on social issues. Work, and will not die easily.
In contrast, Sylvester Stallone and his "First Blood 5", despite being outdated but sticking to his old line, seem to stand out from the crowd.
Arnold, who is in charge of the series door face, has passed the age of his own will. His performance in "Dark Destiny" can also be said to be the best in the series and the best after his comeback. But as James Cameron's second movie released in 2019, the limping "Dark Fate" makes people wonder whether this series should really end.
Where will the future of "Terminator" come from? Is it a bold innovation based on the concept of science fiction, or a more compact and coherent plot? In any case, just hanging the banner of Cameron can't come back to life, just having eye-catching action scenes is just an emergency. Perhaps Paramount, who is about to face no cards to play, should take a good look at where the anger of "Mission Impossible" comes from.
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