This is an interesting position for a film to be in. While “The Terminator” and “T2: Judgement Day” are some of the finest action films ever made, the subsequent sequels “Rise of the Machines,” “Salvation” and “Terminator: Genisys” were…lackluster films to put it lightly. So, a brand-new film completely ignoring the events of the previous two films, by definition connecting itself to the best in the series, has a lot of weight on its shoulders. The result could be quite a “Dark Fate.”
Director Tim Miller (“Deadpool,” “Love, Death & Robots”) balances those expectations well. He and the writers; David S. Goyer (“Dark City,” “The Dark Knight”), Billy Ray (“Captain Phillips,” “Overlord”), Charles H. Eglee (“The Shield,” “The Walking Dead”), Justin Rhodes (“Grassroots,” “Contract Killers”), and James Cameron (“Avatar,” “Titanic”), manage to pay their dues to the original films while also moving a bit further out. This reverence is both a massive positive; it sticks to the more simplistic and easier to follow structure of the originals, as opposed to the time traveling mind games of “T3” and “Genisys,” and a negative.
There’s a difference between paying respect and being derivative, and while the narrative is strong and simplistic, there are moments where it follows a bit too closely to the original film’s roadmap. That’s not to say it doesn’t inject some twists, but those twists ultimately end up being smaller changes to the formula that don’t recontextualize the entire story, it just shifts it a bit.
The use of its Mexican cast members and setting help add some personality to the film and plot points such as having to cross the border and the entire first act in Mexico City help differentiate it from being yet another US set “Terminator” film. In fact, large expanses, thick forests, and huge deserts help to make this an extremely visually striking film, as do the action scenes. Like the film’s plot, these action sequences aren’t incredibly original but still manage to deliver some thrilling sequences that are shot and choreographed excellently. Even when things go completely buck-wild in the third act, it at least feels earned and makes visual sense.
Even the use of flashbacks throughout maintain an impressive level of restraint. They’re introduced when necessary to fill in a character’s backstory or to contextualize a part of the plot, and then disappear completely when they’re no longer needed. They don’t hang over the film because of this, and it allows for a cleaner plot.
Quiet, somber moments are peppered throughout the film, and while they mostly disappear by the time the third act rolls around, it is impressive just how much of the film involves talking. Miller knows that a Terminator can only be threatening if they’re stalking their prey, and he also utilizes these quiet moments to build the relationships and character arcs successfully. It works so well and makes the action better because of the restraint involved.
Restraint is also the best way to describe the film’s action, until the third act, that is. Miller purposefully holds the action to a smaller scale throughout the film, and while things go completely bonkers in the third act, even then it’s still on a relatively small scale. There aren’t waves of Terminators or massive explosions. Its collateral damage that feels grounded thanks to its immediate impact on the characters. There’s no “Man of Steel” level bloodlust here, just one target, one Terminator, and a few protectors.
Those protectors end up elevating the film thanks to their chemistry and banter. Mackenzie Davis (“Blade Runner 2049,” “Halt and Catch Fire”) easily stands tall next to Schwarzenegger as a protector of this film’s target and she continuously kicks butt throughout this entire film. She’s stern yet incredibly charming and easy to care for. As is the woman she’s protecting, Dani, played by Natalia Reyes (“Birds of Passage,” “Cumbia Ninja”). Dani might not be very capable initially, but Reyes’s performance helps to slowly evolve her over the course of the film; this means that when she turns into the badass, she needs to be, it doesn’t feel jarring or out of place.
Schwarzenegger (“Total Recall,” “Predator”) also makes a return here, to much more success than in “Genisys.” He plays this older T-800 as an old soul, reflecting on his past actions and still willing to jump into the fray to set things right. He’s instantly charming and has a wonderful warmth to him. Linda Hamilton’s (“Children of the Corn,” “Separate Lies”) return as Sarah Connor is worth praising to the high heavens. Like Jamie Lee Curtis in last year’s new “Halloween,” she returns to the role that made her most famous with electric results. Connor is whip smart, throwing quips and f-bombs around like a classic 80’s action star, and Hamilton proves that there’s still so much material left for this classic character.
Comparisons to the 2018 “Halloween” film are actually quite applicable. Thanks to a cast of new characters and old all performed excellently, this new “Terminator” manages to deliver some fabulous action and likable relationships despite its familiar and sometimes derivative plot. Its willingness to hold back and let relationships build, as well as the Terminators menace, makes for a much more enjoyable film. Sure, it’s a bit familiar, but given the past few “Terminator” films, familiar is perfectly fine, and in some moments, pretty exceptional. 3.5/5
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