Forget all the sequels for a minute, and consider the first two The Terminator movies as a diptych. As a diptych, they work perfectly. The first one is a hyper tense thriller, the second one a sensational action movie. The major downside of The Terminator movies, I always thought, is that you have to accept an extremely unlikely plot point. We’re supposed to buy that in the future, the resistance somehow found out about the machines’ new time travel capabilities, and destroyed their one and only time machine after they used it for the very first time. Not only that, the resistance also managed to send through one of their own soldiers before they blew it up. Since the humans are shown to be pretty much cannon fodder in their own environment, how would they be able to penetrate the machines’ base of operations? Anyway, this plot device was necessary to get a futuristic killer robot into the present to stalk the Conners (Sarah in the first, John in the second). Once you accept this unlikely scenario, the execution of both movies is pretty much perfect. In the first Terminator, Schwarz is truly scary as the ultimate hunter-killer. A great move by writer-director James Cameron is that Arnie’s T-800 joins the good team in part 2, but it is now technologically outdated. The new and improved terminator – the T-1000 – is perhaps the coolest non-human character ever created for a film. These movies have inspired countless others with their stories and special effects. The Matrix would never have happened if it wasn’t for these terminators. With more than a whiff of philosophy (“it is in your nature to destroy yourselves”), the two The Terminator movies also deliver deeper, underlying messages apart from just giving us the spectacle. Although there is more than enough from that. In T2, it even goes on pretty much non-stop. You could consider that another downside or just as a realistic screenplay measure following the unlikely time travel plot. After all, once you have a killer like the T-1000 on your tail, a non-stop rollercoaster is what you would get.
Tagarchief: FilmDungeon
Double Bill #02: Grindhouse (Planet Terror & Death Proof)
This was the first time I saw the Rodriguez / Tarantino double feature as it was originally intended: back to back and with fake trailers in between. Originally, I saw the films separately when they came out in 2007 in an open air cinema on Crete. This was a special experience in itself and I really liked the movies. So what is the real authentic Grindhouse experience like? Well, what do you think? It kicks complete ass! It starts with the Machete trailer, which is so good they decided to actually make the movie. Then the first feature Planet Terror opens with that pole dancing sequence, the sexiest ever committed to celluloid. Rose McGowan is amazing as Cherry Darling, a go-go dancer who’ll soon have a machine gun for a leg. Rodriguez’ his contribution is a bat shit crazy gory virus zombie splatterpiece, while the Tarantino film that follows is… well a masterful genre film (in this case a carsploitation-horror), like only the maestro knows how to make them. What’s beautiful is that the films actually go together like burgers and fries. Tarantino-Rodriguez is a unique partnership in the history of filmmaking and this is a once-in-a-lifetime project. The two films have a lot in common. Apart from the shared cast members, they feature lots of lethal ladies; girls who kick ass, though they also suffer a lot. The guys in the movies are mostly psychos. And one of them is unforgettable: Kurt Russell as Stuntman Mike McKay. Another Tarantino-character made for the cinema wax museum. The Grindhouse versions of the films are cut a little shorter than the films released separately. Death Proof now also has a missing reel. Not coincidentally, it is the lap dance scene that is missing (Tarantino and Rodriquez are suggesting that a horny projectionist stole the reels, in Planet Terror a sex scene between Cherry and Wray is missing). Also, included in all gory glory are the fake movie trailers: Rob Zombie’s Werewolf Women of the SS, Edgar Wright’s Thanksgiving and Eli Roth’s Thanksgiving. O man, cult cinema just doesn’t come any better than this.
Dungeon Classics #25: RoboCop 2
FilmDungeon’s Chief Editor JK sorts through the Dungeon’s DVD-collection to look for old cult favorites….
RoboCop 2 (1990, USA)
Director: Irvin Kershner
Cast: Peter Weller, Nancy Allen, Belinda Bauer, Tom Noonan
Running Time: 117 mins.
Irvin Kershner is a director who is good in dark sequels that feature tormented cyborgs, he proved with The Empire Strikes Back (1980). RoboCop 2 doesn’t quite approach that extremely high level, but it also didn’t deserve the harsh criticism it received. Peter Weller is excellent once again as the human-machine cop who’s dealing with remnants of his former life. The events take place shortly after the first film and crime in Detroit has gotten even worse. RoboCop has to single handedly end a drug epidemic as the cops go on strike for being squeezed out by evil corporation OCP. The script of this movie was written by Frank Miller (Sin City), so that adds to the darkness. It is too sadistic at times, but seeing RoboCop in action with his tough-as-nails human partner Lewis (Nancy Allen) is as thrilling as it was three years earlier. And although the special effects are pretty outdated (check out the Apple-interface on cyborg Caine!) the movie, with all its apocalyptic Detroit factory settings, still looks good.
Dungeon Classics #24: RoboCop
FilmDungeon’s Chief Editor JK sorts through the Dungeon’s DVD-collection to look for old cult favorites….
RoboCop (1987, USA)

Director: Paul Verhoeven
Cast: Peter Weller, Nancy Allen, Kurtwood Smith, Ronny Cox
Running Time: 102 mins.
Paul Verhoeven’s hyper violent RoboCop is a near perfect classic. In the crime ridden futuristic Detroit, police officer Alex Murphy is brutally executed by a gang of maniacal criminals (a tough scene to watch still). He is then resurrected by the corporation that owns the police (OCP) and turned into the cyborg law enforcer RoboCop. At first, he functions mostly as a hyper effective machine, but then his memory starts coming back to him with a venguence and he goes after the criminals that murdered him as well as the corrupt boss of OCP that is in league with them. Besides pure entertainment and lots of humor, Verhoeven’s Hollywood debut offers a dark, cynical view on the future and smart social commentary on consumerism (‘how about the 6000 SUX!!’), capitalism and the human as flesh machine. Ultimately, the movie is about identity as RoboCop remembers he is not just a product but “Murphy”.











