Terminator: Ocalenie

This film starts off as the coolest post-apocalyptic action orgasm since Mad Max 2. It takes only the names of the characters from James Cameron, while providing the well-cast Worthington/Yelchin duo with an interesting introduction. Terminator Salvation is engaging with its atmosphere, deadly new T600s and Transformer-like giants emitting sounds reminiscent of Spielberg’s Tripods. It is a great visual experience relishing its B-movie but extremely entertaining and spectacular take on the subgenre. BUT... in the second half, the creator of Charlie’s Angels seems to acquire the unfortunate impression that he can master Cameron’s reason-governed universe and starts to reference and alter it, and all of the enthusiasm for this film gradually evaporates. It seems like McG hasn’t even watched Cameron’s movies. At most, he has seen Scott’s Blade Runner, about which he was intrigued the most by fire lashing out of chimneys. P.S.: Worthington plays a more remarkable and important character than Christian Bale. (21.05.2009)

A little better than the third part, but not by much. McG’s direction is fine, so are the special effects and the performances (Worthington is great and Bale plays second fiddle with his unlikeable Connor), but the script is a shame. There’s a lot that happens without any clear cause or motivation, the characters don’t have a clue about many important things, but they don’t care and carry on. Of course, it’s effective and nice to look at (the scene of the attack on the petrol station is awesome), but the moment they start speaking, things go south. Phrases like "We must protect our future! ... I do it to save all mankind!" today feel like something out of an old B-movie, especially when they are uttered for no other purpose than being uttered, i.e. with no reason or factual logical connection to previous (and subsequent) events. To be clear, though, I’m not that disappointed, Salvation is a solid action flick, but it could’ve been a lot better. (04.06.2009)

It's hard to expect anything more than what the trailers showed us. McG serves up (unsurprisingly) a decent summer blockbuster, cheerfully shoving in one quote after another, all in the visual style of Charlie’s Angels. It works, especially in the first half, more than adequately. The atmosphere of the demolished streets draws the viewer right into the middle of any hit game, and the action sequences, in which the heroes are chased by giant robots, have more life in them than all of Transformers. The problem, however, is the writers, who obviously don't care much for sound logic and have to start dissecting characters and relationships just to get to the tear-jerking ending that grabs you (literally) by the heart. In the end, one name comes to mind - Sam Worthington. This guy is going to make a big splash in the ranks of charismatic Hollywood guys. It is he who overrides my seventy percent hesitation to give it a fourth star. It's hard to say what time away and a potential second watch will do to that. (07.06.2009)

McG actually surprised me in a good way. If I set aside the fact that it stylizes a large part of the exteriors as a backdrop for videos by KORN or some other nu-metal band, T4 has a pretty solid atmosphere. The dialogues are not action-packed - the few "philosophical" branches fit into the trailer, which is quite a performance. T4 offers nothing more in terms of lasting pleasures of the spirit. After a year, Sam Worthington again carried out a big movie theft, and once again the victim is... tatadadaa... Christian Bale. But he himself is to blame this time. Someone should really have explained to him that Connor is NOT a Terminator with an implemented depression chip. Unlike the single-shades of his more famous colleague, Worthington is able humanize his character and provide him with something unforgettable... If we disregard the robotic mentality of the plot and the background of thought, there are still a lot of solid action scenes (but not ballbusting scenes), a nice atmosphere and, for notorious nostalgics, also beautiful memories (for me the most are Gáni roaring from a cassette in the apocalyptic wasteland). I'm having second thoughts: On one hand T4 is soullessness, but on the other I had a great time and wondered what it would be like if someone who could do more than just serve fancy pictures got a hold of it... In this way, I have to conclude that, although unreal, the dehumanization and urgency of Cameron's childhood backdrops of the future remain unsurpassed. Indeed, is really the human heart that sets us apart from machines. McG is an overhead terminator. And faulty can screenwriters. Bah! (21.05.2009)

An A-movie budget for a B-movie that takes itself way too seriously, and which would benefit immensely if the director, instead of watching the Transformers movies and War of the Worlds, had put on the original Terminator. (07.06.2009)

The world of a dark future, which Cameron only hinted at, which gave a sense of something unknown and which I never wanted to see on screen, so that its menacing atmosphere would not disappear. Exactly this world is brought to us by McG with Skynet and the Resistance Movement, and to my great relief, he manages to dispel all concerns already with the exposition. There are plenty of reasons to be joyful after all. Whether it's both the dignified opponents at the center of the action, the crucial supporting characters, or the gallery of Terminator villains. But above all, the feeling that the saga was meant to come to these moments. For the direct continuation, thanks to the feeling that something great is being born, I enthusiastically supported it. However, the reality was different. (08.06.2009)

How an interesting subject can be turned into a pretty mediocre bore. I don't know why, but sometimes I had to grimace at their conversations, speeches. But what really annoyed me was that everybody's favorite shaky cam à la documentary style. Nothing against it, for example in Children of Men it was really useful, but here it's useless. Like I wanted a good look at what was going on, but was told: "Sorry, baby!". Sure, some things were good, but the lighter moments can't save a movie that's supposed to be Something. The only thing I was honestly pleased with was the "rubber" imitation of Arnie's face, I enjoyed that special appearance. (19.06.2009)

I did not rush to watch this movie, even though the series is among my favorites. However, the first reactions from fans and reviews warned me that this would not be my cup of tea, and my expectations were completely fulfilled. Not that Salvation doesn't have anything to offer, as it has a very decent budget, the special effects are good, and it also has a decent pace and action. In principle, the reviews are right, which mention the resemblance to Transformers or Mad Max. But that is precisely the kind of movie that doesn't appeal to me. The original Terminator managed to create a myth alongside action, realistic violence, and adventure elements thanks to a quality screenplay that strictly adhered to logic within its sci-fi construct, and that is simply something that the fourth installment lacks. The screenplay is stitched with a needle that is too hot, the plot contains a number of inconsistencies, and the overall concept is somewhat fantastical. It reminds me of sci-fi for older children. Just the appearance of the giant robots, as if they escaped from a construction set... Overall impression: 45%. (21.07.2009)

Arnold is back (for a while) Arnold is back (for a while), although in a quite different movie this time. Salvation has little to do with the original trilogy, well… other than being a sequel to it. But the real powerhouse turned out to be Cameron's dark horse Sam Worthington as Marcus. He’s the only one who moves the main storyline forward. The rest is just filler until what's about to happen happens. I also believe that Bale was only given the role of Connor because he comes across good and leader-like and can create a depressing atmosphere with his hoarse voice. By the way, I barely noticed Bryce Dallas Howard. McG shot an impressive action sci-fi (with robots from Sam Winston's mind), but it can’t touch the Terminator saga. Maybe because I realized this from the beginning, I kind of enjoyed this fourth part. (18.06.2009)

The fourth Terminator is somewhere between the visual purity of T3 and the grandeur and fatefulness of T2. You can almost feel through the TV screen the physical action scenes, which have bombastic sound and precise editing. Similarly, the dirty and uncertain future is portrayed with appropriate dark music and excellent lighting. McG also treats the viewer to several knockouts in the form of brilliantly shot scenes and various camera tricks. But the last act is not good, with a finale that is logically simple, overly terse and in the context of the preceding events, not sufficiently epic. The characters are fine and technically gripping. It’s a pleasant bridge to the next installment, which I can imagine. (06.06.2009)

In a nutshell: Worthington - good. Yelchin - good. Bale - standard (i.e., good). Common and Bloodgood - excellent. The Austrian (digi)bodybuilder-governor is only glimpsed, but he is glimpsed in a cool way and it's definitely the best moment of the whole film. There were plenty of references to the previous films, which warmed my heart, the atmosphere of the post-apocalyptic future was as thick as asphalt, the action scenes - especially the one with the devastator, the moto-terminators and the truck - were filmed with ease, clearly, and at the same time in such a way that my mouth was often hanging open. I think McG pretty much pulled it off and shut the mouths of a lot of doubters... However, it really is stupid in places. (04.06.2009)

For me personally, the weakest film in the Terminator franchise, significantly hurt by the absence of a real Schwarzenegger as the the casting of Christian Bale and Sam Worthington in the lead roles, they just didn't seem charismatic enough to catch my attention. Technically, it's well done, but story-wise it's just such a weaker offshoot of its predecessors. In short, such a poor little sibling among its quality brethren that ultimately impresses most with its mediocrity. (19.03.2016)