Tagarchief: Terminator 2: Judgment Day

The 20 Greatest Ultra Villains in Movies

Posted on by Jeppe Kleijngeld

20. Bill the Butcher

Played by: Daniel Day-Lewis
Film(s): Gangs of New York (2002)
Line: ‘Ears and noses will be the trophies of the day. But no hand shall touch him.’

Nothing goes too far for William ‘Bill the Butcher’ Cutting in his personal mission to oppress the new immigrants whom Bill sees as mere cockroaches. His name is very appropriate: whenever he joins the street fights, he slaughters enemies by the dozens using his vast set of knives and stabbing weapons. He shows a softer side around Amsterdam, who he sees as the son he never had, but in the end, Bill is a bad man. Played to perfection by Daniel Day Lewis.

19. Mr. Joshua

Played by: Gary Busey
Film(s): Lethal Weapon (1987)
Line: ‘See, Martin, we have a problem. Since we have Murtaugh, we don’t really need you. But I believe in being thorough.’

The ultra blond Mr. Joshua is pretty much a badass. He shows his macho behavior in his intro-scene by letting his employer hold a lighter under his arm for a pretty long time. Riggs and Murtaugh have a lot of trouble with this ex-commando. In his mission to smuggle heroin into the United States, he lets nothing or nobody get in his way. He scores extra points for his pretty good fighting skills.

18. The Terminator

Played by: Arnold Schwarzenegger
Film(s): The Terminator (1984)
Line: ‘Your clothes – give them to me, now.’

Schwarzenegger is perfectly cast as a killing machine. The Terminator is one scary motherfucker. ‘Sarah Connor? Yes. Boom!!!’ He is efficient and unstoppable. The perfect invention really. James Cameron (director) and Stan Winston (special effects) have really outdone themselves. The highlight? There are many, but Schwarzenegger barging in the police station killing everybody is pretty damn exciting.

17. Amon Goeth

Played by: Ralph Fiennes
Film(s): Schindler’s List (1993)
Line: ‘Ah, an educated Jew… like Karl Marx himself. Unterscharfuehrer! Shoot her.’

Can a psycho Nazi killer still be charismatic? Leave it to Ralph Fiennes to pull it off. Even though Goeth commits horrible acts and certainly deserves to die for it, he can be touching in a strange and remote way. A truly remarkable bad guy, right up until his ‘Heil Hitler’ sent off.

16. Judge Doom

Played by: Christopher Lloyd
Film(s): Who Framed Roger Rabbit (1988)
Line: ‘Soon, where Toon Town once stood will be a string of gas stations, inexpensive motels, restaurants that serve rapidly prepared food.’

Christopher Lloyd who nailed the ultimately sympathetic ‘Doc’ in Back to the Future, plays a really scary dude here. Judge Doom is one malicious bastard and the type of villain we could use more of: wacky, evil-lookin’ and carrying a dark secret. Brilliant character in a brilliant movie.

15. Anton Chigurh

Played by: Javier Bardem
Film(s): No Country for Old Men (2007)
Line: ‘What’s the most you have ever lost in a coin toss?’

Chigurh is one weird psycho killer for sure. Armed with an oxygen tank and a shotgun he makes life very difficult for the people in the wasteland of the Texas-Nevada borderlands His entrance in No Country for Old Men alone is enough to earn him this position. Add to that his terrible haircut, his deep voice and his seemingly random killing spree and you got an A-grade villain that’s just hard to forget.

14. Freddy Krueger

Played by: Robert Englund
Film(s): A Nightmare on Elm Street series (1984-2003)
Line: ‘I’m your boyfriend now, Nancy.’

The child murdering Freddy literally gives his victims nightmares. Both his burned face and his evil mind tricks can make everybody crap their pants. Freddy is without a doubt the greatest supernatural killer to ever appear on the white screen.

13. Annie Wilkes

Played by: Kathy Bates
Film(s): Misery (1990)
Line: ‘You! You dirty bird! How could you?’

Pour Paul Sheldon. Being captured by his greatest fan is a nightmare beyond imagination. He is constantly walking on eggshells as the slightest provocation will set off Annie Wilkes big time. It’s hard to say what kind of disorder she actually ‘suffers’ from, but there is no doubt that she is completely batshit.

12. Skeletor

Played by: Frank Langella
Film(s): Masters of the Universe (1987)
Line: ‘I am Skeletor.’

Masters of the Universe is no masterpiece, but Frank Langella really elevates the movie with his highly enjoyable appearance. His portrayal of Skeletor, who was already a favorite villain in cartoons, became a most memorable bad guy. His looks are spot on, and he rules his underlings with an iron fist. It’s a total shame that He-Man kicks him into a dark, deep shaft at the end of the movie.

11. Saruman

Played by: Christopher Lee
Film(s): The Lord of the Rings Trilogy (2001 / 2002 / 2003)
Line: ‘Hunt them down! Do not stop until they are found. You do not know pain, you do not know fear. You’ll taste men-flesh!’

While Sauron may be the real bad guy in The Lord of the Rings, Saruman makes a far greater impression. His voice is perhaps his greatest asset. The way he utters spells and commands is just the ultimate in evil cool. Christopher Lee, almost 80 when he played this, is remarkable in the role that he was born to play. When it comes to evil old wizards surrounded by Orcs, Saruman is the man.

10. Agent Smith

Played by: Hugo Weaving
Film(s): The Matrix (1999) / The Matrix Reloaded (2003) / The Matrix Revolutions (2003)
Line: ‘I will enjoy watching you die…Mr. Anderson.’

Who ever thought a software application could be this menacing? Smith may be funny with his monotone voice and robotic locomotion, but he can be vicious as well. It’s really hard to relax with this guy around, and he is always around. When you think he’s finally gone, he returns with clone abilities. Smith is an unstoppable force of destruction and can ultimately be only stopped by himself. Now that’s pretty bad.

9. Clarence Boddicker

Played by: Kurtwood Smith
Film(s): RoboCop (1987)
Line: ‘Can you fly Bobby?’

It’s not exactly his looks that make Clarence Boddicker ultra villain material. It is his ruthless and merciless attitude. He first shows his vileness, when he kicks one of his wounded cronies out of a moving truck. Soon after, he displays a real sadistic streak when he brutally murders Murphy. Although he’s a street level boss, he meets personally with Dick Jones, Vice President at OCP (Omni Consumer Products) showing he is also an intelligent and competent gang leader.

8. T-1000

Played by: Robert Patrick
Film(s): Terminator 2: Judgment Day (1991)
Line: ‘Thank you for your cooperation.’

Robert Patrick as the liquid metal T-1000 is an example of perfect casting. This unstoppable and constantly morphing killing machine is pretty scary at times. The fact that he is wearing a police uniform makes this even worse. Rather than ‘protect and serve’, he fanatically chases John Connor around while killing everybody that gets in his way. Glad to have Schwarzenegger around, the only one with a remote chance to stop it. Now that’s pretty telling.

7. Bill

Played by: David Carradine
Film(s): Kill Bill: Vol. 1 (2003) / Kill Bill: Vol. 2 (2004)
Line: ‘Do you find me sadistic?’

Bill is a murderous bastard, but he can be honorable as well. When the Bride arrives to take revenge on Bill for shooting her in the head, he grants her one night with her daughter, who she had presumed to be dead. Make no mistake though, in the duel that follows he would have killed her without mercy if it hadn’t been for her special skills. A classic villain who gets extra points for his great knowledge of martial arts and pop culture.

6. Major Arnold Toht

Played by: Ronald Lacey
Film(s): Raiders of the Lost Ark (1981)
Line: ‘You Americans, you’re all the same. Always overdressing for the wrong occasions.’

The boring communists in The Kingdom of the Crystal Skull showed again what great villains Nazi’s can be. Major Toht is an absolute favorite. A very unpleasant appearance and an equally disturbing voice can make someone cringe. It’s a true relief when his face starts melting towards the end of Raiders of the Lost Ark.

5. Emperor Palpatine

Played by: Ian McDiarmid
Film(s): Star Wars: Episode VI – Return of the Jedi (1983)
Line: ‘Welcome young Skywalker. I’m looking forward to completing your training. In time, you will call me…master!’

While the Ewoks made Return of the Jedi just a little too child friendly, Ian McDiarmid restored the balance with his dark portrayal of the Emperor. Allegedly, serial killer Jeffrey Damner was a huge fan of Palpatine. This figures, because Palpatine is a true incarnation of evil. Every line he utters comes out as pure poison. He is often underestimated because of his fragile old appearance, but make no mistake! When Palpatine starts using his dark side force techniques there is nobody who can stop him. Well there’s always one.

4. Hans Gruber

Played by: Alan Rickman
Film(s): Die Hard (1988)
Line: ‘Nice suit. John Phillips, London. I have two myself. Rumor has it Arafat buys his there.’

Another German villain to make the list. It is just hard to ignore their bad guy potential. Hans Gruber is the perfect baddie against Bruce Willis’ hero John McClane. He is both ruthless and smart, but certainly not without a sense of humor and style. You gotta hand it to this guy. Up till now, the Die Hard creators haven’t yet found a suitable replacement for him as the villains in the four sequels all made far less of an impression.

3. Frank

Played by: Henry Fonda
Film(s): Once Upon a Time in the West (1968)
Line: ‘I could crush you like a wormy apple.’

Not a businessman but ‘just a man’. If that is true, humanity is truly fucked. Look at Frank’s sins: killing a young boy in his first appearance, raping Jill McBain and off course the thing he did to royally piss off Harmonica. Nobody figured the sympathetic Henry Fonda could play a bad guy this well. He proved them dead wrong. Frank is one of the most accomplished villains ever, and Fonda should have won an Oscar for the part.

2. Dr. Hannibal Lecter

Played by: Anthony Hopkins
Film(s): The Silence of the Lambs (1991)
Line: ‘I’m having an old friend for dinner.’

Anthony Hopkins delivers a wicked and Oscar-winning performance as Dr. Hannibal Lecter. Charming, extremely intelligent, psychically strong: Lecter has it all. One of the few baddies in this list who actually survives the films he is in, Lecter stands above the regular laws of good and evil. He just does what he does. His character has been exploited a little too much in modern cinema and literature, but his turn in The Silence of the Lambs remains one of the most chilling and spellbinding performances ever in cinema history.

1. Darth Vader

Played by: David Prowse, James Earl Jones (voice)
Film(s): Star Wars Trilogy (1977 / 1980 / 1883)
Line: ‘If you only knew the power of the dark side.’

Its villains have always been the best thing about Star Wars, but Darth Vader is the baddest motherfucker of them all. It is hard to say which is cooler; his voice (and breathing), his name or his appearance. His introduction in A New Hope alone makes him the best movie villain ever. But he also has a fair share in fighting skills, force power and strategy. Just a fantastic character altogether.

10 Reasons the Nineties’ Cinema Kicked Ass

Posted on by Jeppe Kleijngeld

I was a little young to realize what a terrific time for cinema the nineties were. Holy crap. Around forty percent of my favorite movies come from the nineties, including my number one of all time: GoodFellas. In this article, I will give you 10 reasons why the nineties kicked complete ass as a movie decade.

1. Tarantino’s Arrival
In 1992, a young film maverick silently arrived with Reservoir Dogs. Many viewers and critics were a little off-put by the violence and immoral characters, but yet loved the non-chronological storytelling, the brilliant dialogues and the awesome performances. The talent of this new writer/director named Quentin Tarantino was undeniable.

Two years later he blew critics and audiences away with his epic Pulp Fiction. Tarantino was for the nineties what Scorsese was for the seventies; a significant promise. And he delivered. The nineties saw him direct an excellent third movie, Jackie Brown (1997), and two of his screenplays were turned into memorable films: True Romance (1993) and Natural Born Killers (1994). In 1996 he also made From Dusk Till Dawn with another promising young director from Texas. Robert Rodriguez had debuted in 1992 with the low budget miracle El Mariachi which he followed up with Desperado (1995). A duo was formed…

2. It Was a Time to Thrill
The nineties was the decade of the thriller. Especially the detective versus serial killer genre flourished with The Silence of the Lambs (1991) and Se7en (1995). Of course these two spawned countless imitations, but none as good. Another excellent movie in the psychopath category is Rob Reiner’s adaptation of Stephen King’s Misery in 1990. That movie’s villain Annie Wilkes (played by Kathy Bates) is probably even scarier than Hannibal Lecter, Buffalo Bill and John Doe combined.

The nineties also had more than its share in fantastic crime thrillers. Top examples include Brian de Palma’s Carlito’s Way (1993), Luc Besson’s Leon (1994), Michael Mann’s Heat (1995), Brian Singer’s The Usual Suspects (1995) and Curtis Hanson’s L.A. Confidential (1997). Special mention in the Thriller department goes to Paul Verhoeven’s erotic contribution Basic Instinct (1992), an absolute classic in its genre.

3. Glory Days For the Coens
They already made an impression as independent filmmakers in the 1980’s. Both their debut Blood Simple and second feature Raising Arizona tasted like more. In the 1990’s they really became film-buffs’ favorites. Miller’s Crossing (1990) is a perfect take on Dashiell Hammett and possibly their finest crafted work. Later, this decade, they had a brilliant black comedy run with the unforgettable classics Fargo (1996) and The Big Lebowski (1998). These Coen Brothers are absolutely terrific.

4. History Can Be Fun
Sure, every period has produced great historical movies, but the nineties had a very impressive reaping in the War / History genre. Way above average to be sure. In 1990 a certain Kevin Costner brought the American frontier to the big screen with the Oscar-winning epic Dances With Wolves. It was a marvelous revitalization of the Western genre. World War 2 is also captured in several Oscar-winning pictures, most notably Steven Spielberg’s Schindler’s List (the ultimate WWII film), but also in Saving Private Ryan (also by Spielberg), La Vita E Bella (by Roberto Benigni) and The Thin Red Line (by Terrence Malick).

Another great war story is spectacularly told in Braveheart (1995), the bloody epic that showed that Mel Gibson is a highly competent director. A number of excellent historical biographies also saw the light of day, most notably JFK (1991, Oliver Stone) and Ed Wood (1994, Tim Burton). And last but least, Titanic (1997, James Cameron) and Forrest Gump (1994, Robert Zemeckis) came out and successfully combined fictional stories with historic events.

5. Great Stand Alone Triumphs
While many masterpieces made in the nineties are part of a larger oeuvre or movement, there were also loads and loads of standalone triumphs. Movies that seemingly came out of nowhere and surprised friend and foe. Below, I picked one of my favorites of these surprises for each year of the nineties. Choosing just one was very difficult in some cases…

1990 Edward Scissorhands (Tim Burton)
1991 Thelma & Louise (Ridley Scott)
1992 Hard Boiled (John Woo)
1993 Groundhog Day (Harold Ramis)
1994 The Shawshank Redemption (Frank Darabont)
1995 Toy Story (John Lasseter)
1996 Bound (Lana Wachowski, Lilly Wachowski)
1997 Boogie Nights (Paul Thomas Anderson)
1998 Festen (Thomas Vinterberg)
1999 Fight Club (David Fincher)

6. Harvest of Horror
O.k., so the eighties ruled in the Horror territory. That doesn’t mean the nineties sucked. What is so great about it then? Well, Wes Craven’s re-invention of the slasher genre with Scream (1996) and Scream 2 (1997) was a terrific postmodern treat leading to many new series, such as I Know What You Did Last Summer (1997), and new installments of old horror series like Bride of Chucky (1998). It goes without saying that some of these were better than others.

Abel Ferrara made a significant contribution to the genre with Body Snatchers (1993), a very effective remake of the classic Invasion of the Body Snatchers, and The Addiction (1995), a great original take on the vampire genre. Speaking of vampires, what to think of Bram Stoker’s Dracula (1992) by Francis Ford Coppola? It’s the best version since Tod Browning’s original from 1931.

The formidable Sam Raimi completed his magnificent Evil Dead trilogy with Army of Darkness, the funniest installment yet. Peter Jackson also combined humor and supreme gore in Braindead (1992) and also delivered The Frighteners (1996). Anything else? Certainly. A selection: Joe Dante’s Gremlins 2 (1990), Adrian Lyne’s Jacob’s Ladder (1990), Ron Underwood’s Tremors (1990), David Fincher’s Alien 3 (1992), Jean-Pierre Jeunet’s Alien: Resurrection (1997) and Taylor Hackford’s The Devil’s Advocate. Last but not least, Daniel Myrick and Eduardo Sánchez’s The Blair Witch Project (1999) spawned a new horror genre with its handheld camera. It’s also the first movie that successfully used the internet to create a hype.

7. The Brits are Back in Town
After a period of recession, the British film industry bloomed again in the nineties. Four Weddings and a Funeral (1994) launched the career of Hugh Grant and was a smash hit at the box office. In 1995 James Bond returned after a long period in the pretty awesome Goldeneye. What’s really great about British cinema in the nineties is the emergence of new talent though. The trio John Hodge, Danny Boyle and Andrew MacDonald made a terrific debut with Shallow Grave (1994) and followed it up with one of the best films of the decade: Trainspotting (1996). In 1998 Guy Ritchie was another positive British surprise with the very funny and exciting Lock, Stock and Two Smoking Barrels.

8. Scorsese Scores Big-time
He delivered brilliant work in the seventies (Mean Streets, Taxi Driver) and eighties (Raging Bull). In the early nineties the maestro showed that he could deliver masterpieces in every decennium. He started by breaking all cinematic conventions in GoodFellas (1990), the greatest film ever made about the real Mafia. Then he made the highly influential thriller Cape Fear (1991) and the excellent costume drama The Age of Innocence (1993) before returning to the mob genre with the superbly realized Casino (1995). He ended the decade with the underrated Bringing Out the Dead (1999).

9. Indie Cinema to the Max
Tarantino and the Coens are already honored in this overview, but there are many other great independent American directors who made their entrance in the nineties or definitely established themselves as masters. In the debut department, we saw Richard Linklater arrive with Slacker (1991), Dazed and Confused (1993) and Before Sunrise (1995). Kevin Smith also made a super impression with the low budget comedy Clerks (1994).

Other indie directors delivered some of their finest work in the nineties. For instance, Jim Jarmusch made Dead Man (1995) and Ghost Dog: Way of the Samurai (1999), David Lynch made Lost Highway (1997) and The Straight Story (1999), Steven Soderbergh made King of the Hill (1993) and Out of Sight (1998) and Todd Solondz made Happiness (1998). If we could only go back to re-experience this richness in indie cinema again. Oh boy.

10. Sci-Fi is Booming
The early nineties saw Schwarzenegger star in two of the most kick-ass Sci-Fi / Action movies of our time: Total Recall (1990) and Terminator 2: Judgment Day (1991). The director of the first one, Paul Verhoeven, would write more sci-fi history in 1997 with Starship Troopers (1997). Other excellent movies in this genre that came out in the nineties are: Robert Zemeckis’ Back to the Future III (1990), Steven Spielberg’s Jurassic Park (1993), Terry Gilliam’s Twelve Monkeys (1995), Roland Emerich’s Independence Day (1996), Luc Besson’s The Fifth Element (1997), Paul W.S. Anderson’s Event Horizon (1997), David Cronenberg’s ExistenZ (1999) and Dean Parisot’s Galaxy Quest (1999).

The final year of the millennium also saw Star Wars return to the big screen, but Star Wars: Episode I – The Phantom Menace (1999) was not an all positive experience. It was another sci-fi film released in 1999 that formed the perfect transition into the new millennium: the cyberpunk story The Matrix by the Wachowski brothers (now sisters). An exciting (and very, very good) surprise hit and the greatest ending imaginable for a movie decade that completely rocked.

Light & Magic: The Making of Cinema Magic

Posted on by Jeppe Kleijngeld

Special effects have always been a huge part of movies. From King Kong (1933), to the Ray Harryhousen films with the brilliant stop-motion effects, to the stunning 2001: A Space Odyssey (1968). Movies offer viewers the chance to see things that cannot be seen any other way. The six-part Disney Plus documentary Light & Magic tells the story of Industrial Light & Magic (ILM) that played an enormous part in the evolution of visual effects in Hollywood movies. The company was founded by George Lucas when he was working on his first Star Wars movie in 1977. He visited every optical effects company in the industry, but found none that could deliver what he had in mind.

2001: A Space Odyssey had really pushed the boundaries in what could be achieved in visual effects, but the movie was slow. Lucas wanted to create speed and energy. He wanted to see dog flights in space. He met a special effects man called John Dykstra, who was part of a small community of special effects people. He hired him to set up the team of model makers, storyboard artists and camera and light people at the newly founded ILM.

The first two episodes show the extremely challenging process of getting the first Star Wars film made. Thousands of elements had to be combined into extremely complicated shots. There were many desperate moments, but the end result was amazing and audiences and industry experts were blown away. Nobody but the people at ILM could have done it back then. It inspired many directors to also push the envelope in special effects the following years and decades, like James Cameron: “I went home, and said to my wife; ‘I quit my job. You have to pay the bills for a while, cause I’m gonna make a film’.”

The third episode is about ILM’s challenge to create a worthy sequel: The Empire Strikes Back (1980). This classical space opera had even more complicated special effects to accomplish. Like always with sequels, the scale was much larger than the first movie. The team also got other assignments than Star Wars, namely Raiders of the Lost Ark (1981), Dragonslayer (1981) and ET: the Extra-Terrestrial (1982). Movies that were nominated for or won Academy Awards for their amazing visual effects.

Lucas also got interested in computers and he hired Ed Catmull to digitize processes. The computer team made the impressive terraforming sequence in Star Trek 2: The Wrath of Kahn (1982) and this can be seen as the beginning of computer generated effects in movies. This inspired Lucas and the ILM people to get into it. Catmull’s division (Pixar) was later sold to Steve Jobs and they turned it into a cartoon company.

The next major project was Return of the Jedi (1983), the most complex movie in terms of visual effects ever conceived. “It was not a fun movie to make”, says one of the team members. But the result surely was fun to watch. Each of the 900 visual effects shots was a triumph for the ILM team. It was followed up by a number of other eighties classics: Indiana Jones and the Temple of Doom (1984), The Goonies (1985) and Back to the Future (1985). Each new project had its own challenges, and the attitude at ILM always was: ‘let’s do something that’s never been done before.’

In episode 5 titled ‘Morphing’, the computer era is really about to take off. The first successful computer effect was the water creature in James Cameron’s The Abyss (1989). Now that film could be translated into pixels that could be manipulated, anything became possible. But the industry needed a proof of concept and the 90 seconds sequence in The Abyss was just that. But as always with new technology, there is resentment at first. They called digital ‘the dark side’. Digital wasn’t yet seen as the main thing, but as an addition to old school effects. The model shop remained the central place in ILM’s laboratory.

Then one day, James Cameron called and he wanted to do something way bigger than The Abyss. He pitched them: Terminator 2: Judgment Day (1991). A liquid metal man was a huge leap from a water snake. The team had only nine months to create the T-1000. They first had to capture actor Robert Patrick in data. They filmed his muscles and how he moved. Once they had him digital, they combined all special effects with the right lighting, so it all seems to be part of the same world. The end result was stunning. One ILM guy recalls the T-1000 walking through the bars in the mental institution; an impossible shot. This was truly groundbreaking stuff.

The following year, another major movie would truly signal the end of traditional special effects. They had planned to create the dinosaurs in Jurassic Park (1993) with advanced stop motion animation. Spielberg hired the best guys in the business. Stan Winston would design the creatures and Phil Tippett would animate them. He also hired Michael Lantieri, a practical effects genius and Dennis Muren, a visual effects wizard. The team had already built the dinosaurs, and Light & Magic gives us a few images of what the Velociraptors looked like with stop-motion. They’re certainly impressive, but since we are now used to digital effects, the unrealness becomes an issue. Once they did a successful test with a digital T-Rex running through a landscape everybody knew: visual effects will never be the same again. “I feel extinct”, said Tippett, and Spielberg used that line in the movie.

So 1993 was the year of the big breakthrough of digital effects, and they would be used for many successful movies in the nineties, like The Mask (1994), Forrest Gump (1994), Jumanji (1995) and Star Wars Episode I: The Phantom Menace (1999). The documentary series ends with the final innovation that the visionary George Lucas had anticipated all along. The tv-series The Mandalorian (2019) is shot entirely in a round set called ‘The Volume’. This is ILM’s replacement for the green-screen. It uses a massive, curved LED screen to create photorealistic backdrops, circumventing the need for outdoor locations or extensive physical sets. Due to this innovation, The Mandalorian is able to deliver Star Wars effects on a tv-schedule and budget. ILM, which had started with a group of creative designers in a warehouse at Van Nuys, is still pushing the boundaries in creating cinema magic today, now also for the small screen.

Double Bill #03: The Terminator & Terminator 2: Judgment Day

Posted on by Jeppe Kleijngeld

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.