WHAT IT’S ABOUT?
In this fourth installment of the durable Terminator series the year is 2018 and a nuclear holocaust has effectively ended civilization as we knew it. With Terminators snapping up what little remains of the human race a small group of survivors have gone underground in an effort to battle the controlling organization Skynet which shocked the world by triggering the apocalypse. Standing up against all odds is John Connor the one man who knew this was going to happen and Marcus Wright a death-row inmate who’s about to be executed when he’s given a new lease on life by Dr. Serena Kogan a scientist with big plans for this dead man walking. Though Connor is highly suspicious of Kogan’s creation he forms a precarious bond with the resuscitated Marcus as the two search for a way to infiltrate and conquer a very imposing enemy.
WHO’S IN IT?
Let’s start by stating who isn't in Terminator Salvation: Arnold Schwarzenegger star of the three previous installments is busy in Sacramento so except for his brief reappearance via the miracle of CGI this is a whole new ballgame. Taking on a beloved movie franchise — just as he did in 2005’s Batman Begins — Christian Bale steps into the adult shoes of John Connor who was previously portrayed in T2 and T3 by Edward Furlong and Nick Stahl respectively. As the one key link to the entire series Bale’s Connor is intensely serious and dedicated to the task at hand — even though he’s vastly outnumbered. As Marcus Wright Sam Worthington gets to play both sides of the coin as a hybrid of human and machine delivering the most unique and convincing performance yet seen in the series. Both Bale and Worthington carry on this legendary series in style but it’s Worthington who gets the big scenes bringing an ironic element of humanity to the whole enterprise. Also noteworthy: Helena Bonham Carter as the doctor who creates a modern version of Frankenstein’s Monster; Anton Yelchin as future time-traveler Kyle Reese Moon Bloodgood as Resistance warrior Blair Williams; and rapper Common as Connor’s second-in-command.
Director McG (Charlie’s Angels) tackles the daunting task of carrying on this series without its signature star and pulls it off with first-rate action set pieces flawless production values and a fascinating new wrinkle in Marcus Wright a character at odds with himself as well as John Connor. In the time-honored tradition of a classic cinematic showdown these are no ordinary heroes. They’re conflicted warriors faced with a task that is truly overwhelming in its scope.
With such a strong story the filmmakers probably didn’t have to resort to so many motorcycle flips explosions and truck and plane chases — not to mention a pulsating soundtrack that’s amped up so high you may need earplugs. But with so much excitement on the screen it doesn’t really matter. Action fans will be wetting their pants.
MEMORIES OF THE GOVERNATOR:
Arnold appears briefly (in the nude no less) in what appears to be a CGI pastiche of his classic character. But don’t blink or you’ll miss him.
Terminators won’t die and neither will its signature line. When Blair asks Connor what she should tell his men after he’s gone he replies in earnest: “I’ll be back!”
NETFLIX OR MULTIPLEX?
It will be movie theaters’ OWN salvation this summer.
She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.