MOVIE REVIEW: Terminator: Dark Fate

In an effort to wipe out Judgment Day completely, thus erasing the events of “Terminator 3: Rise of the Machines” and the extremely mediocre two sequels that came after it, “Terminator: Dark Fate” presents a different future for the inhabitants of Earth to avoid – one in which a cyberwarfare program called Legion has become self-aware, waged war on the world, and is close to wiping out all of humanity. Oh, you’ve heard this one before? Therein lies the primary problem with “Dark Fate.” Instead of using this fresh slate opportunity to tell a new and exciting story, the film’s six collaborating writers instead chose to tell the same one as we’ve been seeing in this series since it began, with some slight variations in which characters play what roles in the fight, of course. I’ll concede that there is commentary to be made here, and it’s even ever so briefly touched on by the film in a few scenes about fate vs. free will; but from an entertainment standpoint, seeing the same old cycle of flashy new Terminator model comes back to kill would-be-savior of the world and is resisted by strong-willed humans is more tired than wired.

This new sequel isn’t without its strengths, though. The choice to have Linda Hamilton reprise her role as the famous Sarah Connor turned out so much better than I’d expected. The super cool 63-year old fits perfectly back into character and gives a phenomenal performance full of pathos, badassery, and snarky comedy. She is a weathered soul who takes no shit from anyone and serves as a great contrast to the equally headstrong but inexperienced augmented human Grace (Mackenzie Davis), who was sent back to protect Dani (Natalia Reyes) for reasons that are entirely predictable. Davis and Reyes certainly seem committed, but the writing does them no favors, leaving the vast majority of the zingers to Hamilton and an eventual appearance by the franchise-making star himself, Arnold Schwarzenegger. Reprising his role as the famous T-800, Schwarzenegger briefly provides a chance for the film to touch on the idea of Terminators gaining a conscience. It’s not too deep, but Arnold makes you care. Like Hamilton, the character still fits like a glove and his chemistry with her is off the charts, delivering some of the film’s very best dialogue.

It would probably be forgivable that this entry’s story is nothing unique if the action kicked ass on par with the franchise’s best. But alas, though certainly fine to watch at the moment, there is nothing memorable here. The new Terminator’s design is creative, and it’s fun to see the exoskeleton separate itself from the body to become two independently acting wholes, but no logical explanation is given on how this is accomplished and considering the writing that may be for the better. Director Tim Miller also over-uses slow motion, bringing it into nearly every action sequence at some point, and outside of the new Rev 9 Terminator splitting in two the film’s CGI is only serviceable at best while noticeably laughable at its worst.

Fans hoping that James Cameron’s involvement as Producer would lead to “Terminator: Dark Fate” returning the franchise to the greatness of its first two entries are unfortunately bound to be disappointed. Perhaps if he’d directed, this same old song and dance might have been elevated, but Miller is no Cameron, and “Dark Fate” is no “Judgment Day”. It is, however, entertaining. Full of explosively average action, with a predictable spin on a familiar narrative and a genuinely great return to an iconic character by Linda Hamilton, “Terminator: Dark Fate” may not offer anything remotely as emotionally powerful and memorable as the finale of “Rise of the Machines”, but it is easily the second-best Terminator 3 movie in the franchise.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Minisode 042: Terminator 2

It’s Judgment Day at Feelin’ Film. Our Patrons voted for us to cover Terminator 2 for May, because nothing celebrates Mother’s Day like talking about Sarah Connor. We honor the genius of this classic and dive into some of the bigger themes it presents like fatherhood and sacrifice. Come with us, if you want to live.


Contact


Join the Facebook Discussion Group

Download this Episode 


Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

What We Learned This Week: July 23-29

LESSON #1: ARE CHRISTOPHER NOLAN’S FILMS EMOTIONLESS?— The prolific and cerebral director of Dunkirk recently answered critics who have called his films “emotionless.”  They must have missed the sharp revenge of Memento, the stirring heroic feels of his Batman trilogy, the seething jealousy of The Prestige, the suspenseful mental weight of Inception, and the familial anguish of Interstellar.  Emotionless, my ass.  I’m afraid Dunkirk will be the challenge.  I don’t think it has the necessary emotional anchors, but my Feelin’ Film peers will say otherwise.  See it for yourself (on the biggest and loudest screen possible) and let us know what you think.

LESSON #2: NETFLIX IS AN EVOLVING ENIGMA FOR THE MOVIE BUSINESS— Speaking of Christopher Nolan, he recently made negative comments on Netflix’s strategy of simultaneous streaming and release windows that take away from theatrical films.  GQ recently collected a roundtable of directors (included Ava DuVernay, Edgar Wright, Jeff Nichols, and James Gunn) who “blew up Hollywood.”  That led many, especially the Nolan disciplines, to raise those anti-Netflix pitchforks we’ve been back and forth on all year in this column.  A voice of contrast came out at much the same time from A Ghost Story director David Lowery calling the behemoth hub a “service to the industry,” especially for mid-range independent film who don’t have a chance in the theatrical marketplace (especially against the likes of Nolan’s films and their backing).  I side with Lowery, and what’s good enough for Martin Scorsese is good enough for me.  I see more help than harm, and it’s still too soon to see the growing effects, positive or negative.

LESSON #3: PRICE POINT IS THE NUMBER ONE ISSUE OF FILM VIEWERSHIP— Echoing the first two lessons this week and a great thread on the Feelin’ Film Facebook group, this whole audience problem comes down to money, plain and simple.  A family of four can get more content out of the recurring price of a Netflix subscription or more repeat viewing from the one-time-price DVD/Blu-ray disc purchase at Walmart than they would hauling everyone to the theater for tickets and concessions multiple times a year.  Add to that the substantially reduced prices for HD and Smart TVs compared to 10 or even 5 years ago.  While I fully endorse to the magic of the communal big screen experience, one would crazy not to see the price point logic and respect a smart household’s budgeting decisions.  It’s all about bang-for-your-buck and Netflix is winning that right now with content volume and ease of access.

LESSON #4: SOME FILMS DON’T BELONG IN SPACE— Bigger isn’t necessarily better, and how big is too big?  Space is too big.  I recently learned that answer when Fast and Furious series director F. Gary Gray said that a future sequel of the franchise that started with lowly car thieves in L.A. could be set in space.  WTF?!  Straining believability is fun and all, but that’s too much.  Has no one this century seen the Moonraker James Bond film?  Stop already.  Go back to Paul Walker’s sunset and be done.

LESSON #5: SOMEBODY TAKE JAMES CAMERON’S CRAZINESS AWAY— Apparently, James Cameron thinks he’s got another Terminator trilogy for the masses.  Come on, man.  While I respect the visual envelope-pushing and industry revolutionizing Cameron can perform, the man can be a quack as a writer.  That and, by the time he gets to this project for how slow he works, Arnold will be 100-years-old or we’ll all be dead.  Somebody shake this bad idea out of him and tell him to go finish Avatar 2 already.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.