Image courtesy of Warner Brothers.
“Terminator Salvation” Starring Christian Bale, Sam Worthington, Anton Yelchin, Moon Bloodgood. Directed by McG. 114 minutes. Rated PG-13.
Take a little “Total Recall,” mix it with “Transformers,” sprinkle a tablespoon of “Mad Max,” bake at 350 degrees computer-generated special effects, and, voila, the result is “Terminator Salvation.”
“Salvation” is unable to compete with any of its three predecessors but it ain’t a bad film. One weakness is its PG-13 rating. There are plenty of explosions, but no close ups of bullets or shrapnel shredding bodies, or robo-hands tearing off heads.
The principal difference between “Salvation” and the other Terminator movies is that John Connor, humanity’s salvation, is now an adult and Kyle Reese, Connor’s father, is a child. Nevermind, it’s not worth explaining.
In the first three movies, the objective is to keep Connor alive. In the fourth, it’s making sure Reese avoids ingesting 40 7.67-mm rounds per second from a minigun.
Christian Bale, as Connor, plays what has now become a potentially career-ending typecast for him, a brooding, mopey hero.
The most interesting character in “Salvation” is the machine army’s first T-800 cybrid assassinator, which is unaware of its origin or allegiance. Sam Worthington portrays the cybrid, known as Marcus Wright.
Once you overlook the murkily explained way Wright becomes the next-generation terminator, his portrayal of a sentient machine enduring an identity crisis is fairly convincing.
Add to Worthington’s character the lovely and very human sidekick, A-10 pilot Blair Williams, and “Salvation” becomes more than palatable. Williams is played by Moon Bloodgood, a beautiful woman with the sexiest voice on the planet.
Typical of Armageddon-like movies, the post-apocalypse Earth in “Salvation” is drab browns, dark blues and assorted grays. Only flashing red lights and the orange of explosions adds color to the film.
It takes some suspension of contextual logic to consider mankind’s resistance against the encroaching world of a computer constellation with artificial intelligence plausible.
For example, if Skynet, the Vladimir Putin of the machinekind in “Salvation,” is so smart, lethal, and efficient, why did it fail to nuke all of America’s military bases and repair depots? I ask because the humans in the film have access to a broad range of weapons. From MV-22s to a nuclear-powered attack submarine, Connor and his troops avoid the uncomfortable position of fighting robots with clubs and rocks.
“Salvation” gets three stars out of five, if for no other reason than its respectful bow toward the end to the greatest terminator of all, the now politically besieged governor of California.
Let’s see if I can nail down the premise of “Terminator Salvage Operation”: John Connor must jack into the Matrix where his mentor Obi Wan has been captured by an alien face-hugger. There he meets Gandolf, who wields a mean club when the Road Warrior attacks, but they escape with the aid of Mr. Spock who is undergoing the colon-cleansing ritual of pon-fart.
I swear. There were times during “Terminator Salvation” when I thought I was watching “The Road Warrior,” “Transformers” and maybe just a wee bit of “Star Trek,” “Alien” and “Lord of the Rings.”
These science fiction franchises have become about as interesting and fun as a civil service employment application. They’re way too complicated and take themselves way too seriously, and their creators seem to have forgotten that story will always trump effects.
Worse, they’re all borrowing stuff from each other, sort of like a taco pizza cheeseburger.
Here’s the rundown on “Salvation”: It occurs after “Judgment Day,” the day a vast computer system called Skynet becomes self-aware and decides to pan-roast humanity with the nuclear bombs it has been put in charge of (and this date conveniently shifts from movie to movie. In the original “Terminator” it was Aug. 29, 1997. In “Terminator 2: Judgment Day” it’s July 25, 2004, presumably because of meddling in the timeline. In the TV show “Terminator: The Sarah Connor Chronicles” it’s moved to April 2011 … can’t they just settle on a date and be done with it?).
After pushing the button Skynet decides to rid the world of pesky human survivors by building a global network of machines that work 24/7 to hunt down human beings and kill them. Humanity, deprived of its Netflix popups and angry because of it, retaliates by organizing resistance fighters who live underground, eat rats, and have access to phase plasma rifles in the 40-watt range (an homage … get it?).
John Connor, the anointed savior of mankind, must make sure his dad, the teenaged Kyle Reese, lives long enough to go back in time and impregnate his mother, Sarah Connor. Meanwhile the first human-like Terminator awakens and thinks he is human, never believing he might have been programmed to do what he spends most of the movie doing. Amazingly he bumps into Reese, one of two survivors living in Los Angeles, and then the movie becomes one big fist punching, guns blazing, jets screaming, atomic-bomb exploding craptravaganza.
I was wrong. This isn’t a civil service employment application; it’s Donald Trump’s tax return.
Christian Bale becomes tiresome as the eternally brooding, always angry John Connor. I keep remembering that insane tirade (warning: extremely foul language) by Bale posted on the Internet where he threatened to beat the &@$% out of the director of lighting for interrupting his shot. Moon Bloodgood irritates me because her name is so obviously contrived. And how did Anton Yelchin (“Star Trek”) score two of the biggest movies of the summer season?
One bright note is Sam Worthington as the Terminator who doesn’t know he’s a Terminator. Oops! Spoiler? No problema, baby. It’s telegraphed in the first five minutes.
I have two regrets about “Terminator Salvation.”
No. 1: There was no “Battlestar Galactica” tie-in.
No. 2: I spent $7 seeing this in the theater when I could have waited for it to show up in the $5 bin at Walmart.
From what I hear there’s a T5 in the making.
I guess the Terminator will be back.
Mladen Rudman is a former journalist and technical editor. Del Stone Jr. is a former journalist and author.