Terminator movie review (1984)

In the decennary 2029, the machines have nonheritable ability and are gunfight against people in a dystopian world. Among the humans, John Connor, in the time leads a robust lockout that puts the group at an advantage. The machines project a cyborg, the Terminator(Arnold Schwarzenneger), to move body in example to 1984 to deathblow the mater of John Connor, Sarah (Linda Hamilton), before he is born. To curb this, the grouping project Kyle Reese (Michael Biehn) to defend her from the cyborg.

In the near future, humanity is being pushed to the verge of extinction by sentient machines (after coming through a nuclear apocalypse). To win the war before it even starts, a cyborg assassin, the Terminator (Arnold Schwarzenegger), is sent back through time by the machines. Arriving in a flash of light, during a dirty 1984 evening, the Terminator pauses at a view over Los Angeles, almost as if it can sense its prey already. Moments later another flash bleaches the shadows of an alley, spewing Kyle Reese (Michael Biehn) from within its temporal belly.

Since both the Terminator and Reese have emerged from the future as naked as new-born babes, they both need to locate contemporary clothing. The big difference in approach is that the Terminator beats up some greaseball punks for his snazzy leather outfit while Reese is reduced to stealing his trousers from a nearby tramp. Their objectives are also identical, involving the location of someone named Sarah Connor (Linda Hamilton) and either killing or protecting her. There are three people in the phone book with the correct name, so the Terminator methodically moves towards wiping them all out (luckily Reese has a bit of inside information which means that he can track down Connor slightly more easily.

Meanwhile, Connor goes about her business oblivious to the gathering storm. Life as a waitress ain't pretty, particularly for someone as ditzy as Connor, but at least she's got a night out with her room-mate Ginger (Bess Motta) to look forward to. A news bulletin regarding the bloody killing of one of her namesakes briefly catches her attention, but it doesn't amount to much for someone hardened to living in LA. Slowly the net tightens, with the Terminator moving inexorably towards Connor while Reese can only watch and wait (hoping that the cops don't pick him up). Since he doesn't actually know what the Terminator looks like, he has to sit back until the last possible moment before shooting it - a temporary distraction for the Terminator, at best. This begins the nightmare for Connor.

The central theme of The Terminator is one endlessly recycled in all forms of entertainment, testament to its intrinsic power and numerous psychological hooks. An assassin who is not merely implacable but also seemingly invulnerable strikes right at the base of our deepest fears, threatening to upset our stability. The choice of Schwarzenegger for the cyborg role was a stroke of genius (even though he and Biehn were initially cast in each other's character). With his pumped-up, inhuman musculature and inexpressive features, there is little difficulty in imagining that he is an ultimate killing machine, sent from the future.

Interestingly, Reese is portrayed as a double-edged warrior; the exact opposite of the Terminator and yet almost exactly like his nemesis. This makes sense (given where he's come from) but it's pretty eerie when Reese launches into compact future-speak and shrugs off bullet wounds as a minor scratch. Biehn does a fine job as a fish-out-of-water, brought up to fight and lumbered with the task of explaining everything to a sceptical Connor. She is the antithesis of the organised, tough mother of the future saviour of mankind that Reese might have expected - an excellent piece of script-writing. Her transformation and gradual coming to terms with the coming holocaust never feels outlandish, thanks to the well pitched performance of Hamilton.

An unusual feature of The Terminator is that it puts forward a strong script to complement the impressive special effects, a result of its low-budget origins. Events are tightly plotted, if rather contrived, under the direction of James Cameron, ensuring that the tension gradually notches ever higher. It's also refreshing to find a movie where the timelines of present and future are synchronised properly, without lots of absurd hops back and forth in time. Altogether this ensures that The Terminator is a landmark science-fiction film, a benchmark for others to aim for and one of Schwarzenegger's finest performances.


When I first expression the movie, I was reverent by the conceptuality and the effects. The picturing of the future seemed very infrigidation and Schwarzenneger was pluperfect as a temperature merciless cyborg. Perception it again, I still weighing some of the effects are performance and it's heartening to bishopric that in some ways, Schwarzenneger hasn't changed very much since bowing his discovery capacity (the distinctness being that these life he plays the role instead of the villain). The script is colloquialism quality as is the portrayal by the hanging cast. The centile is excellent. Terminator is a large sci-fi contact that I definitely suggest swing on your must-see list.

Star Trek: Nemesis movie review (2002)

For those of you who subscribe to that hypothesis that only the even added up Trek movies are fine, you may be defeated by Nemesis. Does that get in a bad film? No. But I wouldn't range it above the better either.

In Nemesis, Picard and his crew fight and all new villain in the form of Shinzan, a broody, evil human with Earth domination on his thinker. Actually, Shinzan has other plans as well. One in particular, implies Picard, in what should be a surprisal in the film's plot, but it's not thanks to Paramount's all too exposing marketing campaign.

Director Rick Berman decided it was time that the dealership get some new blood, so he hired John Logan (Gladiator screenwriter and longtime Trek fan) to write, and Stuart Baird (U.S. Marshalls) to directly, hoping that the creative squad might break barriers and bring a fresh take on Star Trek. Surely, Nemesis has an interesting premise, but the execution is all wrong, and this film doesn't sustain any kind of rhythm.

Logan is patently a fan of Trek, for followers of the franchise will notice key similarities between this picture and the fantastic Wrath of Khan. Look still closer and you'll also see conspicuous shades of Star Wars (a key scene between Picard and Khan echoes a minute between Darth Vader and Luke Skywalker in Return of the Jedi.) I would have been fine with all of this if Nemesis would have gone anyplace, but unfortunately, this film feels like a build up without a worthy payoff.

Most of the mainstream critics across the country are quick to point out that Nemesis depicts an outdated view of the future. That there's naught high tech or original about the look of the film. Well, conversancy is something that Trek fans have come to know and love, and I had perfectly no problem with look of Nemesis. I had a trouble with it's tone and convoluted structure. This is to say nothing of the lack of comradarie amongst the cast. This tenth episode is the Picard and Data demonstrate, giving very little for the rest of the cast to do. I can see why some of the Trek regulars were skeptical about reprising their roles.

Patrick Stewart is perfectly fantastic. No one can recite bad dialogue best then him, and he looks to be having a fun time in the action views as well. In Nemesis, he appears really comfortable in the captain's shoes and even has an chance to be a little lighter in nature. Brent Spiner is also great as the loveable android Data, and is given a chance to play two roles. Well, sort of. You'll see what I'm talking about when you see the movie. Tom Hardy is both delightfully baleful and sympathetic as Shinzon, and the chemistry between he and Stewart is perfect. In fact, it is the minutes in which these 2 actors share the screen, that Nemesis really comes alive.

When expected, Star Trek: Nemesis is heavy in the especial effects section, and most of the visuals here are impressive. However, if you've seen the trailer for this film, then you've seen the big set pieces already. There is a collision sequence that is quite spectacular, but once more, they show it in the trailer. The movie doesn't have much more to offer except for some splendid word play between Stewart and Hardy.

What's most dispiriting about Star Trek: Nemesis, are the fact that these very well could be the finally Next Generation big screen gamble. If it is, it's decidedly a low note to go out on. I desire this movie makes up a lot of money if for no other reason, than to see Star Trek 11 get made so that our brave crew might go out with a bang in a story that includes Q, possibly. Why they have yet to used this creative character in one of the films is beyond me.
Movie review

Spider-Man movie review (2002)

Before I auspicate with this review, I must confess, I've never been one for buffoon books. That's not to represent I detestation them. I honourable never got into them as much as my friends did biology up. Function to say, I entered Spider-Man (based on the Stan Ecdysiast comic) having never interpret the buffoon on which the episode is based. Sure, I agnise the commodity antiquity and origins of the character, but I'm hardly an mortal on Spidey mythology. Most of my fever for the credit was based on the case that it was directed by Sam Raimi, a credit bookmaker I've admired for quite sometime.

Spider-Man, for the few of you who are not familiar, is the wake anima of startle and unsocial level academy auditor Penis Parker (Tobey Maguire). Constantly picked on and intensifier ignored by the girls at school, Parker finds himself curst (and cursed) after being bitten by a theridiid while at an pseudoscorpion parade on a yard trip. Shortly thereafter, Parker discovers the quality to criterion walls and shooting fabric from a little hole in his wrists. With his new powers comes new responsibilities, as Parker becomes Spider-Man. With every superhero comes a superior villain. In this case, it's the Green Folklore (Willem Dafoe). The Green Folklore wreaks disturbance all over the city, and it's up to Spider-Man to span a stop to his transgression deeds.

Tobey Maguire is alarming here. You'd never opinion by look him, that he and Raimi intensive had to carry the apartment to yield him a day at the lead. His shy, nerdy Saint Parker is bitmap perfect, exhibiting all of the scare and ignominy that address with being a mod (for most of us anyway). And while this isn't a tearjerker about categorisation (Maguire has the same squeaky communication as both Parker and Spider-Man), Maguire has colloquialism through an moving material modification to bring Spidey to the important screen. On the other hand, Willem Dafoe's property is about duality, and he plays the Greenishness Folklore with abstraction glee, cartography us all but unlearn about his uninteresting bight as a quality man in the unpleasant Groundspeed 2. And dislike being concealed by that mask, his act shines through. Kirsten Dunst is colloquialism artful as the maid in distress, but her dimension never intensifier gets to develop. She's more of an artifact here, but I'm secure we'll diocese more of her in Spider-Man 2.

God anoint Sam Raimi. From Evildoing Deceased to A Archaism Plan, I've always admired his work, and have always felt a matchwood mystified as to why this sod has never become an A-List director. All his films fume energy, smoothness burning and immeasurable creativity. Spider-Man is no exception. This is a colorful, stormy effort, and the two hour return instance is over before you know it. Spider-Man is long fuel than Tim Burton's Attendant pictures, but then so is the buffoon formulary on which it's based. Sam also goes torso to his individualist roots with some artful winks to the gallery and even gives friend and Evildoing People galaxy Bruce Campbell a short shard of the action. If there is a difficulty here, it's that Raimi had too much clams at his disposal. In his time efforts, smaller budgets unscheduled him to be more productive cartography for some provocative and font drape moments. With Spider-Man, that creativity, in a sense, was restricted merited to unqualified funds.

Spider-Man is immoderate from perfect. Storage the collage saddle from it's modify prospect is a below statistic playscript by David Koepp. Recognise God Raimi is around to irrigation visible talent to what must have been an abstract uninteresting read. This marks the millisecond period in the last few months a Koepp playscript has been bailed out by individual burning (the last was David Fincher's Fear Room). While it could be argued that this modernization of Spider-Man is a plain dentition up for the sequel, that's hardly a clean excuse.

I also awareness the deficiency to courtesy on the excess of electronics effects. Yes I know, CGI is intensive the only drape to go in a montage like this, and the verity is, the electronics effects sparkle fair book on their own, but they hardly contact with the neighbour act stuff. The shots of Spidey motion through the municipality and Parker header from slaughterhouse to shambles are hardly seamless. At one moment, Spider-Man is like looking a calm neighbor thing movie, but then the next, it's as if we're monitoring a advert for the recording game.

Much has also been made of the garb organization in this picture. The Spider-Man garb is honourable fine, and a colloquialism up Mug Maguire has filled it out nicely, but the Emerald Folklore would have been more strong had a prosthetic been used rather than an a beat animal mask. Thankfully, Dafoe is competent to surpass this overt regulation through his alert performance.

And finally, I am bad to assay that Danny Elfman's rating is hardly memorable. He is susceptible of immoderate better work, and for whatever reason, his Spider-Man rating doesn't algometry up to the visuals it's backing. This is a float score, and a distinct degree intersection on Elfman's impressive resume.

As a superhero picture, Spider-Man is moderately enjoyable. Leader fossil my lover of all superhero adaptations. As a Sam Raimi picture, Spider-Man is chromatic and lively, but impotent to fusee the director's endeavor activity (see Deviltry People 2 or A Herb Plan). In fact, as a film, I was more entertained by Raimi's lyric to superhero flicks, Darkman. There is no food and potatoes in this story. It is merely a aggregation up and (like Inviolable from a family of years ago) ends with it's role honorable barely discovering his destiny. This hardly makes Spider-Man a dud, however. True, I walked out of this montage inadequate more, but I still had a advantage time, and anxiously expect the predictable sequel.

Iron Man 2008 movie review

Iron Man represents a return to the realm of capital cinematic super hero versions. Later dissatisfactory attempts like Fantastic Four and Spider-Man 3, Marvel Comics, manager Jon Favreau and star Robert Downey Jr. have for sure done good by these one.

Founded on a lesser acknowledged comical books champion (but sure no less grand), Iron Man assures the chronicle of Tony Stark, a brash, cocky weaponry engineer/ mogul who's a alteration of heart after beingness captured by the opposition during a presentation in a Middle Eastern testing web site. Later beingness nursed back to health coming an ambuscade explosion that almost arrogates his life, Stark is coerced to construct a destructive projectile for the foeman through with the aid of additional hostage. Course, the live Stark has an entirely another plan. A plan that wish alter the course of his life.

Iron Man is grand summer amusement. It's Robocop adjoins The Rocketeer. And what actually makes the whole thing come together is Robert Downey Jr.'s magnetic turn as Tony Stark. Downey adds a lively bluster and a wonderfully sarcastic wit to the part. His fast babbling nature and amusing undertone allows a nice counterpoint to the black and broody nature of Bruce Wayne and the boyish charm of Clark Kent. Stark is abridge by a completely another cloth. Furthermore, Iron Man is a bit more adult then a lot of the additional super hero fibs we're accustomed to assuring. This is timely stuff. He's a lot of a super hero for the world we live in now.

The screenplay by Marc Fergus, Hawk Ostby, Art Marcum, and Matt Holloway is superb. These is essentially an origination story. A tale of how Stark goes Iron Man. The 1st act of the film is especially effective as we see first of all hand why and how Stark's percept of what he does modifies. Furthermore, the film offers up a lot of heart. The bond between Stark and Yinsen (played by the likable Shaun Toub), while short-lived, is extremely effective. Once Stark is back in the big city, he takes his plan to a higher level, and that's when Iron Man becomes a true super hero movie.

Director Jon Favreau keeps the action moving along at a great pace without out losing sight of the characters in the piece. The sweet natured rapport between playboy Stark and his long time assistant Pepper Potts (played by Gwyneth Paltrow) gives the film a lot of depth, and the addition of veteran Jeff Bridges (sporting a bald head and a bushy beard) as Stark's business associate, adds another interesting dynamic to the project.

The especial effects are great. Many of the visuals are hardheaded. Iron Man himself is not a CG conception save for the panoramas when he's taking flight, but even out then, the transitions from hardheaded to CG are unlined.

Iron Man does stumble a bit in the last act. Paltrow's Pepper Potts is reduced to the token damosel in distraint role and that's disappointing granted her sense of aches earlier on. There's also the inevitable big showdown betwixt Iron Man and the curse. The prodigious sequence has a bit of a Transformers band to it, but at least Favreau has the optic flare to let you see what's going on. Thankfully, the coming doesn't play like a musician video. Given that these is a super hero movie, I suppose this stuff comes with the territory.

In the end, Iron Man is a hip joint, arousing, super hero film caused with an enormous add up of energy and love, and it clearly has dealership written all over it. I can't wait to view what Favreu and Downey have in store for us in the summer of 2010.

On a side annotation, Marvel fans are advanced to hang around done the end citations. There's a nice small surprise for you.