Posted on Tuesday, March 13th, 2012 by Angie Han
In this edition of Sequel Bits, it is once again hip to be square. As well as to be mutated, undead, and/or cyborgian. After the jump:
- Yes, Jennifer Lawrence wants to do X-Men: First Class 2
- Bret Easton Ellis says Patrick Bateman would want to get it on with Chris Brown and Rihanna
- [REC]3: Genesis gets a creepy new trailer
- Producer Victor Kubicek talks Terminator Salvation, wishes the Terminator 5 folks good luck
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This is the first edition in a new regular series where I attempt to answer your questions about the film industry. We’ll be taking a look at the box office, forgotten Hollywood landmarks, the marketing process and more. Sometimes I’ll attempt to answer the question myself, and other times I will contact experts in the particular field to give a more detailed answer. Please feel free to send your questions to email@example.com. I decided to start off this series with an easier question, and use it as a jumping-off point to delve into the more complex world of screen credits.
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The Terminator series is responsible for one of my best, and worst, film going memories. The good one was back in the Summer of 1991 when my parents picked me up at camp and surprised me by driving to the Chester 6 Cinemas in Chester, New York for a matinee of Terminator 2: Judgement Day. The surprise was awesome and the movie put it over the top. To this day, T2 remains a favorite.
The flip side to that memory was Terminator Salvation. Just the whole experience. Of course Terminator: Rise of the Machines was bad, but at least it didn’t completely forgo the tried and true Terminator formula while simultaneously bastardizing the films that came before it. As a huge Terminator fan, that was a blow.
So, when Gale Anne Hurd, who is currently producing The Walking Dead and produced the first three Terminator films, says that she’s love to do another one, my reaction is mixed. Read more of her comments and share your thoughts after the break. Read More »
DivX and CinemaNow are giving away a free digital copy of Terminator Salvation. I’m sure the /Film readers will be quick to comment that “it’s not worth that much”, but a deal is a deal. All you have to do is click here, enter coupon code TS201023, and sign up for a CinemaNow account. You’ll need to have DivX player to play the movie file.
Expect to be overloaded on James Cameron and Avatar news this weekend folks. Dave will have an interview with the King of the World up later this morning — but for now, let’s take a look at his thoughts on McG’s Terminator Salvation. Also, there’s a little tidbit about how he sold the rights to the first film for $1.
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This Week in DVD & Blu-ray is a column that compiles all the latest info regarding new DVD and Blu-ray releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s.
There’s a certain expectation of quality that comes with viewing a sequel to an established franchise. In Terminator Salvation, the director of Charlie’s Angels joins forces with the screenwriters of Catwoman to remind us why those expectations usually result in the metaphorical equivalent of a grown man gleefully defecating all over our most cherished memories. It’s the type of film where it’s much easier to pinpoint what it does well, if only because it gets everything else so disastrously wrong. The positives can be counted on a single hand, with the action sequences being the primary standout—and the sole reason the film is being listed under the “Rent it” section. If you can separate yourself from the rest of the series, and view the film as no more than CGI-heavy eye candy and a compilation of Transformers-esque robotic mayhem, Terminator Salvation is watchable enough to please those undeterred by studio-manufactured Summer blockbuster silliness. The only other highlights worth mentioning are stars Sam Worthington and Anton Yelchin, who manage to do an admirable job breathing life into characters otherwise completely devoid of personality. The rest of the cast doesn’t fare as well, with literally every other role barely even registering enough to make an impression. Christian Bale in particular disappoints, reducing the should-be-badass John Connor into “military guy who shouts a lot”. Meanwhile, any opportunity the film may have had to redeem itself in the story/storytelling department is quickly thwarted by an embarrassingly illogical and self-defeating central conflict (Spoiler alert: Skynet is stupid), as well as a non-stop array of cringe-inducing lines and shamelessly flagrant callbacks to previous Terminator entries.
Notable Extras: DVD – Includes the theatrical cut of the film, along with a Moto-Terminator featurette. Blu-ray – Includes the theatrical and directors cuts of the film, along with featurettes (“Re-Forging the Future”, “The Moto-Terminator”), a “Resist or Be Terminated” Video Archive, a Terminator Salvation Official Movie Prequel Digital Comic Issue #1, a WB Maximum Movie Mode, Focus Points, and a digital copy of the theatrical version.
|BEST DVD PRICE
|Amazon – $9.99
|BEST BLU-RAY PRICE
|Amazon – $16.99
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Posted on Tuesday, September 1st, 2009 by David Chen
In this week’s /Filmcast, Dave Chen, Devindra Hardawar and Adam Quigley reflect on Disney’s absorption of Marvel Entertainment, wonder if Terminator Salvation could be improved with some R-rated action, get excited about some action movie sequels, and assess the state of the Redbox legal battle. Special guest Anne Thompson from Indiewire joins us for this episode.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next Monday at 9 PM EST / 6 PM PST at Slashfilm’s live page as we review Gamer.
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That man McG seems to change his story an awful lot. I can’t even unravel all of the threads of argument about the rating for Terminator Salvation (something… about… pizza?) but I do recall that, at various times, it was either fully intentional or fully unintentional that Moon Bloodgood‘s infamous breast-baring not be part of the final cut. And how much violence or gore was snipped from the picture to get it into theatres with a tween-friendly rating?
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