TS: Reviews de Medios

Sobre la saga acerca de la guerra contra los exterminadores del futuro
Avatar de Usuario
Kanon
Blast Processing
Mensajes: 11137
Registrado: 21 Dic 2007, 10:51
Ubicación: Algo
Contactar:

Re: TS: Reviews de Medios

Mensaje por Kanon » 21 May 2009, 13:53

'Terminator Salvation': Metalheads, By Kurt Loder
Christian Bale gets lost among the machines.

A lot of hard work has gone into "Terminator Salvation," the fourth installment of the time-shuffling robot-war series and the first since the 2003 "Terminator 3: Rise of the Machines" detoured the franchise into the realm of unintentional hilarity. Unlike the past films, the new one is set in the future — the one from which android assassin Arnold Schwarzenegger was dispatched a quarter-century ago to travel back to 1984 and terminate Sarah Connor, the soon-to-be mother of John Connor, who, in the future from which Arnold was dispatched, had grown up to be the leader of the human resistance forces battling the metallic minions of Skynet, the sentient computer entity that had taken over the world. Oh, and also to put a stop to Kyle Reese, who had likewise beamed in from the future for the purpose of becoming John Connor's father. Is your head starting to hurt again?

Joseph McGinty Nichol, the director who fearlessly continues to call himself "McG" (a childhood nickname, he says; what if his parents had dubbed him "Munchkin"?), has staged some memorable scenes here. There's a gigantic Skynet aircraft swooping down on a bridge filled with fleeing humans; and a leap from a helicopter into a storm-tossed ocean far below to rendezvous with a rebel submarine; and — in the movie's snazziest interlude — a disembodied Terminator spinal column violently thrashing around on a lab gurney while its human captors struggle to hold it down.

But "Salvation" is crucially hobbled by tired-franchise syndrome. There's not one character in it as unforgettable as that original Arnoldian Terminator, or the shape-shifting T-1000 model that brought new menace to the 1991 "Terminator 2: Judgment Day." Instead, what we have here is just a whole bunch of beady-red-eyed Terminators — although some of them are the size of small buildings (or, dare I say, Transformers), and at least one, if I'm not mistaken, is accessorized with a dashing bandana wrapped around its metal brow. The Terminators battle the human rebels, nominally commanded by General Ashdown (sci-fi vet Michael Ironside), who directs his forces from the safety of that submarine, but effectively led, out in the Terminator wastelands, by the charismatic John Connor (Christian Bale).

It's unfortunate that Bale, such a fine actor, is so completely uncharismatic here — especially in comparison to a new character named Marcus, who's played by the effortlessly charismatic Sam Worthington. (Worthington was apparently recommended to McG by James Cameron, director of the first two "Terminator" films, who had cast the Australian star as the lead in his long-brewing 3-D epic "Avatar," now due out in December.) Also notable is the seriously talented Anton Yelchin as Kyle Reese. (Let's hope however, that Yelchin soon takes a break soon from his current action-man path to do more ambitious real-world films like "Charlie Bartlett.") And Moon Bloodgood brings some emotional dimension to the role of Blair Williams, the movie's requisite butt-kick girl. The rest of the cast is a blur, though, when not a puzzlement. Helena Bonham Carter, in weird-lady mode, has some brief moments as a bald Skynet doctor (she's afflicted with cancer, for some reason). Bryce Dallas Howard barely registers as Connor's pregnant wife, Kate. And it's hard to work out what the wonderful Jane Alexander is doing in this picture. (Playing the leader of a combat-shy human faction — but really, why?)

Given its setting, in the middle of a worldwide robot conflagration, the movie also suffers from an inevitable tedium, which can best be summarized as: bang-bang-bang; pow, pow; fireball, fireball; ka-boom! The color is often leached down to the dismal blues and grays familiar from other sci-fi dystopias, some of which — especially the "Mad Max" films and, again, "Transformers" — are clear influences. The picture lacks conceptual flair — we really have seen most of this stuff before — and you kind of wish the producers would acknowledge the futility of their undertaking here and put this tired series back in its box for good. (Especially now that the far-superior Fox TV series, "Terminator: The Sarah Connor Chronicles" has — coincidentally? — just been canceled.) No such luck, though: "Terminator 5" is already in the pipeline. Do you feel an even bigger headache coming on?
http://www.mtv.com/movies/news/articles ... tory.jhtml
GamerTag XboxLive: KanonZombie
PSN Id: KanonZombie

Avatar de Usuario
Kanon
Blast Processing
Mensajes: 11137
Registrado: 21 Dic 2007, 10:51
Ubicación: Algo
Contactar:

Re: TS: Reviews de Medios

Mensaje por Kanon » 21 May 2009, 14:03

Terminator Salvation Review: Sensory Overload
By Mary Pols Wednesday, May. 20, 2009

From the beginning, when cyborg Arnold Schwarzenegger first arrived in our present — nude, greasy and heralded by what now seems like a very quaint series of lightning strikes — it was a bad idea to dwell on the time-traveling twist that has him pursuing a target, John Connor, who is still unconceived yet also alive in the future. Better to focus on key information from The Terminator, like the fact that a seemingly simple statement of intent—"I'll be back"—is actually quite a nice little joke. (See the top 10 movie catchphrases.)

The adult John Connor (Christian Bale) utters the same words in the fourth movie in the franchise, Terminator Salvation, but it's funny only in the context of the original. Terminator Salvation has no time for jokes. It's an action movie wrapped in an action movie, with a side of bombing. It is so riveting on a visual and aural level that taking in its dialogue, even though it's laudably economical ("Where's the Terminator?"), feels akin to being forced to listen to chitchat during an earthquake. (See the 100 best movies of all time.)

The movie was directed by McG (Charlie's Angels), who is staking his claim on the series begun in 1984 by James Cameron. But instead of taking on the big questions that have been bugging us all these years — such as, What's so great about John Connor, and how did/does/will he save mankind during the war with the machines? — the screenplay shimmies into the upper third of the Terminator  timeline. The year is 2018, things are grim, per usual, and the birth of Connor remains a top priority, although his designated father, Kyle Reese (Anton Yelchin), is still far too young to head back in time to frantically knead Sarah Connor's breasts in a California motel room (see movie No. 1). Movie No. 4 is all about keeping Kyle safe, so that in the future he can serve as Sarah's sperminator.

Given that the original Terminator is tied up balancing California's checkbook, McG needed a strong man to do his thing with Connor. (For the five Terminator innocents out there, that varies from attempted mother assassination to kindly protection, depending on the mood of the director.) Australian actor Sam Worthington, who looks something like a young Dennis Quaid, makes an appealing stand-in. He plays Marcus Wright, a convicted murderer who donated his body to science just before getting a lethal injection at San Quentin back in 2003. In 2018, Marcus emerges from a mushroom cloud — nude, naturally — and strides off across the desert, looking for whoever it is that was responsible for his rebirth. He's the movie's only real mystery, and a good one at that.

Connor might be the Messiah, but Bale plays him as surprisingly soulless, hitting the same dour notes he uses for Batman. He's expecting his first child with doctor Kate (Bryce Dallas Howard), introduced in Terminator 3: Rise of the Machines and played then by Claire Danes. Howard seems to have only half a dozen lines — certainly no more than that register — and she is dull enough to have cyborg potential. The script keeps most of its women silent (there's even a helpful mute urchin named Star), and when one of them, fighter pilot Blair (Moon Bloodgood), does open her mouth, you wish she hadn't. (See the top 10 movie performances of 2008.)

Many devotees complained that Rise of the Machines, the first installment that wasn't directed by Cameron, crudely violated the creator's intent and messed with the overarching plot. Call me a clod, but I didn't see it as all that insulting. It may have been overly eager to show off its special effects, but it was entertaining enough in that big, stupid way. The new movie has much more impressive effects and is far more slavish in its homage. (It's a pleasure to learn that even as a teen, Kyle was using the "Come with me if you want to live" line.) Like the new Star Trek, it's a gift for fans.

But what's lacking is the sense of emotional balance and urgency that the original Terminator, though just a B movie, was blessed with — the quality that earned it fans in the first place. It was cheesy, but it never pretended to be otherwise. In Terminator Salvation, we don't bother worrying about teenage Kyle; we know he'll make it. We're too busy thinking about how cool that stunt was, the one where that body skimmed the river's surface like a skipping stone.

So McG knows how to slap an audience into awed submission. But at a certain point, you may feel so pummeled that you check out and begin pondering things like the time-travel question. Or when did radiation from nuclear blasts cease to be dangerous to human beings? Or what exactly is Terminator Salvation's stance on the death penalty? Or how is it that even after the apocalypse, someone is still churning out cute maternity wear and hot leather outfits? Maybe in 25 more years, we'll get the answers.
http://www.time.com/time/arts/article/0 ... 97,00.html
GamerTag XboxLive: KanonZombie
PSN Id: KanonZombie

Avatar de Usuario
Kanon
Blast Processing
Mensajes: 11137
Registrado: 21 Dic 2007, 10:51
Ubicación: Algo
Contactar:

Re: TS: Reviews de Medios

Mensaje por Kanon » 21 May 2009, 14:06

MOVIE REVIEW
Review: 'Terminator Salvation'
Director McG's energetic movie plays with elements from earlier in the franchise. But some of its soul has been lost.
By Betsy Sharkey

"Terminator Salvation" is a boys-and-their-toys-gone-wild, eardrum-shattering, metal-shredding vision of a post-Judgment Day world at war that up to now we've mostly glimpsed in Sarah Connor's fever dreams. (For anyone asking, "Sarah who?," we'll get back to that momentarily.)

This fourth edition of the franchise that forever shaped Arnold Schwarzenegger's film and political career ("I'll be back" and "Hasta la vista, baby" worked surprisingly well for both) comes at us with what can only be called McG-force. The director, whose reputation was first made in 2000 on the restyled bounce and jiggle of "Charlie's Angels," has found in "Salvation" a world that will almost, almost contain his unrestrained energy and rabid optimism, which makes for a movie mash-up of everything that manic imagination and money will buy.

Christian Bale stars as John Connor, now grown and finally living out his destiny to save the world from the blunt force of the killing machines that began in 1984 with Schwarzenegger's well-sculpted, sunglasses-loving, time-traveling, single-minded cyborg killer. The Terminator's failed mission to eliminate Sarah Connor, then just a lonely waitress with a no-count future, spawned not just son John and a successful franchise, but a mega-career for writer-director James Cameron.

Cameron discovered a million-dollar sweet spot between the virtually unstoppable mechanical killers he'd created and a very human story of survival. T-800, T-1000 or any other models that rolled off the assembly line were fearsome in their relentlessness, but also funny, and surprisingly adaptable because they "thought" in their lethal, but mutable way.

In McG's new world order, the machines now rule with enforcers of every shape imaginable roaming the land -- they fly, swim, search, chase, harvest, transport, jail, crush, and on and on, but there's not a strategic thinker or a standout personality among them. In the countless battle scenes, a sort of metallic madness takes hold, but the tension of the chess match between hunted and hunter has been lost (for this, screenwriters John Brancato and Michael Ferris, who also wrote "Terminator 3: Rise of the Machines," must share in the blame).

Though we've been waiting for John Connor, it is Marcus Wright who turns out to be the warrior the film needs and the salvation it seeks. Played by a scene-stealing -- make that movie-stealing -- Sam Worthington, Marcus carries within him the question, and possibly the answer, at the heart of the series: What is it that truly separates man from machine? So it is fitting that the story of "Salvation" begins and ends with him.

Draped in a worn, military-style overcoat, gun in hand, Marcus moves through a barren American West, circa 2018, wearing his conflicted humanity like Clint Eastwood in his Sergio Leone days. Worthington overtakes every scene that he is in, and you can't help but hope that along with his power ranger of a girlfriend, Blair (an excellent Moon Bloodgood), he will find his way onto the drawing boards now shaping "Terminator 5."

We first encounter Marcus on death row, a killer who is persuaded in his final moments to donate his body to research. The last face he sees is that of a scientist (Helena Bonham Carter). Decades later, Marcus gets a second chance unlike any he imagined. The good news: He's strong, reconstituted and somehow alive. The bad: He's awaking to a post-apocalyptic rubble heap overrun by a massive metal army with nothing but death lurking behind their red, unblinking laser eyes. More important, Marcus finally wants to begin the hard work of understanding who and what he is.

The journey for Marcus, John and the rest of "Salvation's" cast comes with a suitcase full of past time-traveling anomalies (a few footnotes provided). Kyle Reese (Anton Yelchin) turns up as a teenager, years from saving Sarah Connor and fathering John (see T-1). He is the one to first rescue Marcus from the machines. Meanwhile, back at resistance headquarters, John is plotting the end of Skynet (see T-1, 2, 3). By now he's married to Kate (see T-3), played by Bryce Dallas Howard, and they're expecting a child. (Anytime you feel confused, the answer will either be "time travel" or "it's complicated.")

When John learns that Kyle has been captured and is headed to Skynet central for containment and probably extermination, he knows from what his mother has told him (see T-2), that his very existence (see T-4) hangs on Kyle's fate. Much of the action from that point on is built around John's attempts to save his future father, though Kyle must never be told who John is or how things will unfold (see T-1, 2, 3 and 4).

The movie was really designed to be Bale's, to ride the "Terminator" franchise into a new future on the back of his sizable talent. Few actors of Bale's generation are better at breathing life and layers into troubled interior characters, whether the tortured soul literally wasting away before us in "The Machinist," or the black armor of Batman's solitude in "The Dark Knight." His strengths do not serve him, or the movie, as well here. John Connor needs to be the calm, powerful center of this storm, not the storm itself (as he was on set too, with a wicked tirade that became a Web sensation).

If you're a "Terminator" fan, though, "Salvation" is mostly worth it. The machines are mindless, yes, but there are enough pyrotechnics and heavy artillery to feel like Armageddon squared. And when the story starts to crumble around Bale, Worthington is there to pick up the pieces. At one point John asks Marcus, "Who are you?" Marcus looks at him with a knowing sadness and says: "I'm the only hope you have." Thankfully, he is enough.
http://www.latimes.com/entertainment/ne ... 7865.story
GamerTag XboxLive: KanonZombie
PSN Id: KanonZombie

Avatar de Usuario
Poyo
This is Pequod!
Mensajes: 7767
Registrado: 03 Mar 2008, 22:50

Re: TS: Reviews de Medios

Mensaje por Poyo » 22 May 2009, 19:26

Review: Loud Terminator Salvation Makes for Grim Spectacle

Terminator Salvation doesn’t so much invite you into its grim vision of a robot-ruled future as bash you over the head with it.


Imagen

Set in 2018, the thunderous flick explores a gritty nightmarescape in which Terminators roam the earth, killing and collecting human specimens amid a nearly nonstop succession of booms, thumps, clanks and seat-rattling rumbles.
The movie’s stark visuals and mankind-versus-machines story line take a back seat to the ominous audio: The noise ceases only when Danny Elfman’s aggressive score moves in for the kill.
But despite the nearly overwhelming sonic assault, Salvation, which opens Thursday, restores credibility to a sci-fi franchise widely perceived as being terminated by Arnold Schwarzenegger’s cartoony 2003 Terminator 3: Rise of the Machines.
Thanks to a spectacularly stark setting, solid acting, new models of homicidal robots and a story larded with references to the mythology established in James Cameron’s original 1984 and 1991 Terminator films, Salvation director McG shoots and scores in this PG-13-rated sequel.

Imagen

Salvation begins after the machine-masterminded nuke attack known as Judgment Day, with artificial intelligence network Skynet laying waste to what’s left of humankind. Painting a portrait of sheer desolation, McG and cinematographer Shane Hurlbut make the most of their money shots, including a stunning reveal of a ruined Los Angeles and distressing, car-littered desert highways that bring to mind a sepia-toned outtake from Mad Max.

Drained of color, this charred wasteland serves as dreary sanctuary for pockets of human stragglers. Chief among them: John Connor (played by Christian Bale), a low-ranking officer in the resistance. Devoted to subverting Skynet authority, Connor assumes command of rebel human forces after tangling with a succession of killer bots.

Meanwhile, teenager Kyle Reese (Anton Yelchin), hiding out in devastated Los Angeles, takes up with tough guy Marcus Wright (Sam Worthington), who mysteriously emerges out of nowhere after surviving a death-row execution. Together with mute urchin Star (Jadagrace Berry), they hit the road to do battle with hordes of desert-dwelling Terminators.

Bale is believable as the intense foot soldier. Worthington, an Australian actor, comes across as a world-class brawler while managing to create empathy for his Man With No Memory. Yelchin, who plays Chekov in the new Star Trek film, sells his smart and spunky take on Kyle while Moon Bloodgood, playing a downed fighter pilot who befriends Marcus, adds a welcome jolt of ass-whooping sexual tension.

Imagen

Pedestrian dialogue doesn’t give the cast much to work with beyond rudiments of motivation and story points. Humor, gallows or otherwise, has apparently been annihilated along with the bulk of humanity.

Still, Salvation’s noisy action sequences rattle along at a breakneck clip to the movie’s satisfying, if inevitable, payoff: Ordinary humans outsmart, outmaneuver and out-smash the attack machines. Conjured by Oscar-winning visual effects supervisor Charles Gibson (the Pirates of the Caribbean trilogy) and animatronics supervisor John Rosengrant (Stan Winston Studio), the androids make up in variety what they lack in personality.

Gleaming eye candy includes Hydrobots (razor-headed water snakes); Moto-Terminators (two-wheeled predators); the 80-foot-tall, spider-shaped Harvester; and foot soldier Hunter-Killers, equipped with the glowing red eye-orbs seen in earlier Terminator films.

A couple of reasonably well-justified surprise twists sustain Terminator Salvation’s tale, as does a brief glimpse of things to come during the final throwdown, while a gruesomely captivating steampunk torture device keeps this post-apocalyptic adventure from getting too predictable.

But when it comes to blowing stuff up, McG has set a high-decibel benchmark likely to last at least until June 24, when Transformers: Revenge of the Fallen hits theaters.

Wired: Nightmarish landscape; high-intensity acting; scary robots.

Tired: Loud. Really loud.

Rating: Imagen
http://www.wired.com/underwire/2009/05/ ... spectacle/

Avatar de Usuario
Kanon
Blast Processing
Mensajes: 11137
Registrado: 21 Dic 2007, 10:51
Ubicación: Algo
Contactar:

Re: TS: Reviews de Medios

Mensaje por Kanon » 22 May 2009, 20:06

Cada vez mas desalentado... Guarda con el de Harry Knowles, de AICN, que es bastante spoileroso en algo...

Algo que predije y que es una cagada :(
GamerTag XboxLive: KanonZombie
PSN Id: KanonZombie

Avatar de Usuario
Devil_May_Cry
Tengo 0 Amigos de Facebook
Mensajes: 5585
Registrado: 03 Mar 2008, 13:11
Ubicación: El Quinto Circulo del Infierno

Re: TS: Reviews de Medios

Mensaje por Devil_May_Cry » 06 Jun 2009, 09:01

El apocalipsis será espectacular
Carlos Schilling
De nuestra Redacción
cschilling@lavozdelinterior.com.ar

“Terminator: salvación”. Calificación: buena. (Terminator, salvation, ee.uu., 2009). Dirección: McG. Guión: John D. Brancato y Michael Ferris. Fotografía: Shane Hurlbut. Música: Danny Elfman. Duración: 1.55. Género: Ciencia Ficción. Intérpretes: Christian Bale, Sam Worthington, Moon Bloodgood, Helena Bonham Carter, Michael Ironside, entre otros. Salas de estreno: Cinerama, Dinosaurio, Gran Rex, Hoyts de Nuevocentro y Patio Olmos, Showcase y Sunstar.

Las buenas ideas nunca se agotan. Esa parece ser la premisa de la saga Terminator. De todas maneras, lo que en manos de James Cameron fue un hito de la ciencia ficción cinematográfica se ha convertido, 30 años después, en una especie de franquicia de éxito garantizado.

En la década de 1980, un mundo destruido por la guerra entre los hombres y los robots era una visión posible del futuro. Aterraba porque tenía la contundencia de una profecía. Ahora, cuando la fecha del juicio final propuesta en la primera Terminator ha quedado atrás, el mundo destruido que presenta en sus imágenes se ha convertido en fantasmagoría. Compite con miles de versiones del apocalipsis que abundan en el cine, la TV y los videojuegos.

Pero la transformación en un simple espectáculo visual no es la peor de la mutaciones que puede sufrir una idea. Por empezar Terminator: salvación tiene la dignidad de las cosas hechas de la mejor manera posible. El esfuerzo de la producción para ponerse a la altura de la leyenda de Cameron es evidente. Hay un cuidado por los detalles y por la atmósfera que revelan una preocupación por hacer creíble el futuro atroz que imaginan para la humanidad, algo que no sucedía en Terminator 3, más enfocada en las persecuciones y en los efectos especiales.

Aquí finalmente la guerra entre los hombres y la máquinas es mostrada en pleno desarrollo. El planeta está dominado por la corporación cibernética Skynet, que se regula a sí misma de manera automática y que ha decidido eliminar a los hombres de la faz de la Tierra. La humanidad está organizada en múltiples focos de resistencia, liderados por un comando que se oculta en un submarino sumergido en un punto indefinido del océano.

En 2018, el año en que se ubica la acción, John Connor, interpretado por el siempre convincente Christian Bale (Batman), es sólo el jefe de uno de esos grupos de resistencia. Pero enseguida se verá que tiene el carisma suficiente para ser el máximo líder. Cuenta con una ventaja: las voz grabada de su madre (la mítica Sarah Connor) le advierte sobre los peligros del pasado, el presente y el futuro.

Sí, el tiempo sigue siendo la materia más interesante en Terminator: salvación. Lo que se hace hoy no repercute sólo en el mañana sino también en el ayer. La guerra puede dilatarse así en todas las direcciones temporales posibles. En ese punto, la trama lineal de la oposición entre chips y conciencias se complica con la introducción de una criatura híbrida: Marcus (Sam Worthington), medio humano y medio máquina. Este personaje es todo un acierto. Evita que la historia se reduzca a una simple secuencia de escenas de acción e introduce un dilema, un signo de pregunta entre las dos partes en conflicto.

Pero también con Marcus se hace patente la decisión de no avanzar demasiado hacia el interior de los personajes. Ni la posibilidad de que sea un infiltrado, ni las tensiones internas de su doble naturaleza son exploradas en profundidad. Cosa que atenta contra el mismo mensaje humanista de la película, simbolizado en la imagen final de la mano de una niña entrelazada a una garra cyborg.

Para disfrutar de una película de acción muy bien hecha.

Una virtud: el personaje de Marcus, hombre y máquina.

Un pecado: algún que otro simbolismo simplista.
http://www.lavoz.com.ar/nota.asp?nota_id=522545
Nos Vemos A Nosotros Mismos Como Seres Reales, Pero Quizas Somos Nuestro Propio y Engañoso Espejismo, Yo Que Me Veo Denso y Palpable, Soy Sin Embargo Alucinacion De Mi Mismo

Responder

¿Quién está conectado?

Usuarios navegando por este Foro: No hay usuarios registrados visitando el Foro y 6 invitados