A seemingly indestructible robot is sent from 2029 to 1984 to assassinate a young waitress, whose unborn son will lead humanity in a war against sentient machines, while a human soldier from the same war is sent to protect her at all costs.
A cybernetic warrior from a post-apocalyptic future travels back in time to protect a 25-year old drifter and his future wife from a most advanced robotic assassin and to ensure they both survive a nuclear attack.
In 2018, a mysterious new weapon in the war against the machines, half-human and half-machine, comes to John Connor on the eve of a resistance attack on Skynet. But whose side is he on, and can he be trusted?
In 1938, after his father Professor Henry Jones, Sr. goes missing while pursuing the Holy Grail, Professor Henry "Indiana" Jones, Jr. finds himself up against Adolf Hitler's Nazis again to stop them from obtaining its powers.
Learning about the death of Doc Brown in 1885, Marty travels back in time to save him. But when the fuel tank on the time machine is punctured, the two must figure out a way to escape the Old West before Emmet is murdered.
Michael J. Fox,
Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A cyborg is sent from the future on a deadly mission. He has to kill Sarah Connor, a young woman whose life will have a great significance in years to come. Sarah has only one protector - Kyle Reese - also sent from the future. The Terminator uses his exceptional intelligence and strength to find Sarah, but is there any way to stop the seemingly indestructible cyborg ?Written by
Colin Tinto <email@example.com>
Carrow's restaurant (as Big Jeff's restaurant) where Sarah Connor worked was filmed only 0.6 miles (1Km) from Pee Wee's house in Pee-wee's Big Adventure (1985). See more »
(at around 15 mins) When the Terminator tosses the bearded man away from the phone booth and begins searching the phone book for Sarah Conner, he uses his finger sliding down the page to assist separating the lines of type, the way human beings do when they read. Yet the Terminators have specially enhanced telescopic vision that allows them to zoom in/out, etc., on anything, even in the dark. It therefore makes no sense that this Terminator would have to use his finger to assist with his reading, he should be able to merely glance at the book and zoom in on the entire page, or on the smallest part of the page and process this information in seconds. See more »
[the garbage truck's engine stops]
What the hell? Goddamn son of a bitch...
See more »
The opening credits run while large outlines of the two halves of THE TERMINATOR cross each other. After the last directorial credit is shown, the title THE TERMINATOR zooms backward, is filled by metallic blue, and reveals itself. See more »
When aired on USA and SCI-FI, the following alterations were made: when both Terminator and Reese arrive from the future, the supposed dirty mumblings of the witnesses (a garbage truck driver and a bum) have been edited. When the Terminator visits the first wrong Sarah, his original scene of him shooting her six times is changed to one shot with the BANG cut out. The scenes where Kyle hotwires the cars is edited, as is the scene of Sarah waitressing in the restaurant and a kid drops a spoonful of ice cream in her apron. See more »
I just saw a horrifying, touching, very good movie again; it's The Terminator. Now to talk of it as great film, to compare it with American Beauty might seem idiotic--it's an almost unrelentingly dark, violent, frightening action movie, after all--but strip away the relentless action, strip away the technophobia, strip away the blatant dislike of cops and modern youth, strip away the poignant love story and, at its core, it's about an immature, essentially mindless girl becoming a strong, determined woman. That's a theme more movies should have if we want girls to have strong role models.
In the course of a few hours during which Sarah Connor realises that she is running for her life from a soul-less machine in human flesh that is implacably and violently determined to kill her, she transforms from a girl who can't balance her cheque book to a woman who can order a wounded, beaten man to "get on your feet, soldier." She is clear-headed, not panicky, focused in crisis and incredibly courageous. And it's not that she has lost her essential femaleness but that she's grown up.
It's relentless, heartless violence appals and fascinates me. It's gritty depiction of our society as a prelude to an even more horrific one in 2023 darkens my heart. It's quickly developing love story touches me. Its humor makes the dark places in me smile. But most of all I am touched and fascinated by Sarah's precipitous transformation. As a good life exercise, ask yourself this: Would you have the courage to do what she does?
9.5 out of 10.
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