Release: Wednesday, July 1, 2015
Written by: Laeta Kalogridis; Patrick Lussier
Directed by: Alan Taylor
He’s back . . . but is he better?
Of course the answer to that one is pretty easy. Arnie himself admits it, deflecting by describing himself as “old but not obsolete” in key moments where the action lulls and the characters just have to say something. Terminator Genisys is not nearly the disaster its predecessor was but doesn’t that feel more like a kick to the metallic groin than anything else? Alan Taylor’s follow-up is more complicated than any cyborg’s internal structure, it’s frenetically paced and pretty long but it does make good on reintroducing the franchise’s iconic T-800 in his (now-creaky) glory, as well as providing some unexpected comic relief that plays on both the franchise’s longevity and Genisys‘ conceptual convolution.
This film, as much as it likes to tout the return of Arnie, is primarily concerned with the prevention of Judgment Day, as John Connor (Jason Clarke) leads the final charge against the machines amid the dire apocalyptic wasteland of the present-day established in Terminator Salvation. Seemingly having just watched X-Men: Days of Future Past, Connor believes humanity’s last hope is to send someone back in time to 1984 to kill Skynet before it becomes . . . you know, all corrupt and stuff. Kyle Reese (Jai Courtney) volunteers for the mission, desperate to meet up with Sarah Connor (
Khaleesi Emilia Clarke) who will be instrumental in the preventative attack. Naturally, all does not go according to plan as a cyborg in the “present” makes it known that no matter what kind of effort humans will put forth, Skynet will come out on top.
Genisys spends much of its time weaving together parallel timelines, one in which Kyle Reese has existed and another that is completely foreign to him. Given the narrative structure, it’d be a great idea to refresh yourself on your history. I didn’t, and my head hurt because of it. While the mission itself is relatively straightforward — prevent Genisys, a Google-esque “app” capable of syncing more than just your nifty devices, from coming into being (a countdown clock helps in pinpointing our position relative to the dreaded ultimatum) — the execution requires real brainwork. Genisys, more simply put, is the physical means through which Skynet would eventually spread globally in computer servers.
In some senses it’s refreshing to be in the company of a blockbuster that makes you think but there are so many throwbacks to the original and T-2 that sighing and giving up halfway through becomes inevitable when one too many fight sequences occur between the real T-800 and his digitized forms, not to mention a T-1000 reminiscent of Robert Patrick’s shape-shifter. There’s a distinct Jurassic World insipidness about the way in which the film can’t break free from the pre-established, and yet new twists abound, the details of which I won’t reveal in order to keep some of the confusion sacred for those wanting to stay in the dark. Needless to say . . . well, actually it isn’t needless but I’ll say it anyway: Matt Smith plays a role in Genisys‘ major deception.
What’s most impressive about Alan Taylor’s revisitation of these hallowed grounds is his ability to skirt around the events of the third and fourth installments. While it does use Salvation‘s final rally against Skynet as a launch pad for its intricate time traveling plot, Genisys feels more inspired by James Cameron’s world building. We quickly leave the present behind (the year is 2017 — I think) and join forces with a younger but less brash Sarah Connor and an aging T-800 who is trying to blend in more with society, at least according to Sarah. In Genisys everyone’s favorite Terminator is wittier, talkier, more conscious of those around him. The essence of the character remains in tact though a mainstream appeal has certainly been foisted upon him. It’s a credit to Schwarzenegger that his identity isn’t lost in the shuffle; he is still very much a good reason to see this film.
More difficult to embrace is Jai Courtney’s blank-slate Kyle Reese who is reminiscent of Aaron Taylor-Johnson’s soldier in Godzilla, for all intents and purposes an everyman slotted right in between two significant character arcs: Sarah’s relationship with the Terminator and with her son John, but ironically and unfortunately Courtney’s ill-equipped to carry the burden. His Reese won’t be any more, though probably not less, memorable than Anton Yelchin’s from 2009. And despite her best efforts Emilia Clarke doesn’t fare much better as the former-waitress-turned-gun-enthusiast. Together these steadily rising talents are meant to uphold Taylor’s vision of a world where humanity has its best chance of breaking Skynet’s brutal grip but they simply feel out of their depth in a story this large, especially when standing beside Schwarzenegger.
Of course, this is a franchise steeped in fascinating science fiction rather than award-winning performances. It’s getting old but it’s not quite obsolete. Not yet anyway. There’s plenty to enjoy for diehards. But with an emphasis on action and metal-on-metal showdowns it’ll prove challenging even for those viewers to juggle story and spectacle for two-plus hours. Taylor doesn’t have a good sense of pacing and seems far too eager to move on to the next set piece, which he’ll soon destroy for good measure. That becomes very problematic when dealing with timelines functioning in the present, past and future.
Recommendation: Alan Taylor manages to justify lengthening the Terminator saga, but barely. There’s a ton of narrative clutter in this film and it will leave a great many scratching their heads on their way out the door. But for simple pleasures, like seeing Arnie back in action, and crazy big explosions, the film delivers. There is a post-credits scene that nearly everyone in my screening missed out on by leaving too soon so be sure to stick around for that!
Running Time: 125 mins.
Quoted: “I’ve been waiting for you.”
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