Looking back to 1991, the hype surrounding "Terminator 2: Judgement Day" was immense. In the seven years since the release of the original film, Arnold Schwarzenegger had become one of the biggest stars of the 1980's, James Cameron had directed two huge films in "Aliens" and "The Abyss" and more so, special effects technology had gone from Ray Harryhausen style stop-go motion effects to the new, as it was then, world of Computer Generated Images, now affectionately known as CGI. "Terminator 2: Judgement Day" largely lived up to its hype, replacing the cold, stark apocalyptic outlook of the original for an violent, action packed, effects laden rollercoaster ride. It works surprisingly well, despite its reliance on the original film for story and flow.
The film opens in the future. Reiterating what many audiences know from the original film, we are introduced to John Connor, the unborn son of Sarah Connor, who was targeted for annihilation by the machines in the original movie. John's face is marked with deep scars war wounds inflicted in his efforts to destroy the machines that now rule the post-nuclear holocaust world. We learn that a Terminator was sent through time to destroy his mother and failed. Now the machines have sent another Terminator back in time, this time to destroy John as a twelve-year-old boy. The Resistance also sends someone back in time to destroy the new Terminator and save the life of the saviour of mankind.
From the opening scenes we are reminded almost exactly of the original film. Firstly we are introduced to Arnold Schwarzenegger's character a re-programmed T-800 Terminator, sent back by John Connor himself thirty years in the future. It seems almost unusual that this role remains Arnold's best he is at his peak when playing someone with no emotion. In amazing shape (he was 44 at the time), Arnold is pure machismo on screen. It's probably fair to say this was the last great Arnie movie where he got to display his strength for tough guy characters. The opening scene, where Arnold procures clothing and a motorbike, also gives the audience a new angle on the Terminator series. Humour is introduced for the first time, and somehow it fits into the film effectively well. Perhaps Cameron knew we already had an distinct knowledge of the character that humour would present a new side to him?
Early on in the film we are not aware that Arnold's T-800 is actually the good guy. Then we are introduced to the T-100, played by relative unknown (as he was then) Robert Patrick. Steely eyed and menacingly lithe, Patrick's T-1000 is the epitome of cool tech-evil. If machines could make a weapon of assassination, this would be it. Aware that the T-800 and T-1000 are in a race to find John first, we await their first encounter. It follows after John and Sarah are introduced.
The groundwork for John's character is surprisingly well thought out. Now in the care of foster parents, John is the ultimate pre-teen rebel, belting around on his motorcross bike to the screams of Guns n' Roses. His foster parents are ineffectual and are not able to control him. We learn that Sarah is now in a mental institute for the criminally insane. Haunted by visions of the apocalypse, Sarah has tried to escape on numerous occasions only to be caught and returned to asylum. Recognising that her son is man's saviour (John Connor's initials are J.C. Jesus Christ? Or perhaps James Cameron?), she is desperate to find him and keep him safe for the impending doom that man faces.
When both Terminators locate John the action begins. Armed with a massive budget (the $92 million spent on the film was the most ever at the time), Cameron stages some amazing action sequences. Often we are left mouth agape at the skill and audacity Cameron displays on bringing the action to the screen. Another outstanding feature of "T2" is the way in which Cameron eschews action with strong dramatic tension. When we see the T-1000 in action his veritable indestructibility leaves the audience reeling. Arnold's T-800 is a tank compared to the T-1000's stealth fighter capability and Cameron's use of effects to display the malleability of the T-1000 are still mightily impressive, even in today's CGI dominated science fiction domain.
The effects occasionally overtake the story for film adhesion, but there are some effective touches. John, whose orders the T-800 follows to the hilt, builds a strong relationship with the android. A patriarchal bond is established as he teaches the T-800 sayings, orders him not to kill and gives him an insight into human feelings. Sure, it could have been realised to a greater extent, but it is still effective. Watching Arnold destroy everything in his path, but only shooting to maim or surprise is very refreshing.
It could be argued that the film is too long, the ending, while entertaining, is certainly overdone, but such is Cameron's style that he goes for a big blow-out at the end of each of his films. It's not over until he says so, and that usually isn't when you expect it.
While the original is a better all round film, especially for its originality and use of tension and sci-fi scare tactics, "Terminator 2: Judgement Day" is still the ultimate sequel. Big, brash and bold, it signals the zenith of Arnold Schwarzenegger's career as a muscle-bound superstar and solidifies James Cameron's name as one of the better science fiction and action directors to work in Hollywood.
The film opens in the future. Reiterating what many audiences know from the original film, we are introduced to John Connor, the unborn son of Sarah Connor, who was targeted for annihilation by the machines in the original movie. John's face is marked with deep scars war wounds inflicted in his efforts to destroy the machines that now rule the post-nuclear holocaust world. We learn that a Terminator was sent through time to destroy his mother and failed. Now the machines have sent another Terminator back in time, this time to destroy John as a twelve-year-old boy. The Resistance also sends someone back in time to destroy the new Terminator and save the life of the saviour of mankind.
From the opening scenes we are reminded almost exactly of the original film. Firstly we are introduced to Arnold Schwarzenegger's character a re-programmed T-800 Terminator, sent back by John Connor himself thirty years in the future. It seems almost unusual that this role remains Arnold's best he is at his peak when playing someone with no emotion. In amazing shape (he was 44 at the time), Arnold is pure machismo on screen. It's probably fair to say this was the last great Arnie movie where he got to display his strength for tough guy characters. The opening scene, where Arnold procures clothing and a motorbike, also gives the audience a new angle on the Terminator series. Humour is introduced for the first time, and somehow it fits into the film effectively well. Perhaps Cameron knew we already had an distinct knowledge of the character that humour would present a new side to him?
Early on in the film we are not aware that Arnold's T-800 is actually the good guy. Then we are introduced to the T-100, played by relative unknown (as he was then) Robert Patrick. Steely eyed and menacingly lithe, Patrick's T-1000 is the epitome of cool tech-evil. If machines could make a weapon of assassination, this would be it. Aware that the T-800 and T-1000 are in a race to find John first, we await their first encounter. It follows after John and Sarah are introduced.
The groundwork for John's character is surprisingly well thought out. Now in the care of foster parents, John is the ultimate pre-teen rebel, belting around on his motorcross bike to the screams of Guns n' Roses. His foster parents are ineffectual and are not able to control him. We learn that Sarah is now in a mental institute for the criminally insane. Haunted by visions of the apocalypse, Sarah has tried to escape on numerous occasions only to be caught and returned to asylum. Recognising that her son is man's saviour (John Connor's initials are J.C. Jesus Christ? Or perhaps James Cameron?), she is desperate to find him and keep him safe for the impending doom that man faces.
When both Terminators locate John the action begins. Armed with a massive budget (the $92 million spent on the film was the most ever at the time), Cameron stages some amazing action sequences. Often we are left mouth agape at the skill and audacity Cameron displays on bringing the action to the screen. Another outstanding feature of "T2" is the way in which Cameron eschews action with strong dramatic tension. When we see the T-1000 in action his veritable indestructibility leaves the audience reeling. Arnold's T-800 is a tank compared to the T-1000's stealth fighter capability and Cameron's use of effects to display the malleability of the T-1000 are still mightily impressive, even in today's CGI dominated science fiction domain.
The effects occasionally overtake the story for film adhesion, but there are some effective touches. John, whose orders the T-800 follows to the hilt, builds a strong relationship with the android. A patriarchal bond is established as he teaches the T-800 sayings, orders him not to kill and gives him an insight into human feelings. Sure, it could have been realised to a greater extent, but it is still effective. Watching Arnold destroy everything in his path, but only shooting to maim or surprise is very refreshing.
It could be argued that the film is too long, the ending, while entertaining, is certainly overdone, but such is Cameron's style that he goes for a big blow-out at the end of each of his films. It's not over until he says so, and that usually isn't when you expect it.
While the original is a better all round film, especially for its originality and use of tension and sci-fi scare tactics, "Terminator 2: Judgement Day" is still the ultimate sequel. Big, brash and bold, it signals the zenith of Arnold Schwarzenegger's career as a muscle-bound superstar and solidifies James Cameron's name as one of the better science fiction and action directors to work in Hollywood.