Terminator Dark Fate (2019) 1080p REMUX

An augmented human and Sarah Connor must stop an advanced liquid Terminator, from hunting down a young girl, whose fate is critical to the human race.

Storyline
The Mexican worker Dani Ramos is hunted down by the indestructible terminator from the future REV-9 that kills her father and brother and is protected by the enhanced soldier also from the future Grace. They flee from the unstoppable terminator and out of the blue Sarah Connor helps them on the road. They head to Laredo, Texas, where Grace has the coordinates of a possible support and they meet the T-800 that killed John Connor and is living in an isolated with his family composed by a wife and a son for a long time. The group teams up to try to destroy the REV-9.

User Reviews
Mexican girl Dani Ramos (Natalia Reyes) lives herself and does not bother anyone until one day a new generation Terminator (Gabriel Luna) who wants to kill her is announced on the threshold of her parents' house. The cyborg girl Grace (Mackenzie Davis), who arrived from the future, also helps in some way to cope with Dani's problem, explaining to Dani in the form of an educational program that there’s nothing at all, and an aggressive, elderly aunt who got out of nowhere, which, of course, turns out to be Sarah Connor (Linda Hamilton). Together they run away from the Terminator and try to understand what to do - run or fight?

For nearly thirty years, studio bosses have been trying to figure out what they can do with Terminator, a cult franchise that began with two outstanding films that, in general, did not mean any continuation. But they (in the sense of continuation) still come out and with enviable constancy no one really likes: “Terminator 3” was disliked because it destroyed all the meanings built by Cameron; “May the savior come” - because he lost history against the background of beautiful effects; “Genesis” - because it exists at all. For thirty years the studios have been spinning the franchise this way and that, but they haven’t really gotten anything: the most decent thing that came out on Terminator since 1991 is Frank Miller’s comic book Robocop vs. Terminator. Which, as it were, already says a lot.

Now, after so much time, franchise rights have returned to James Cameron, the man from whom it all began. True, he is now too busy with Avatars to be distracted by long-term franchises, and so he threw all the responsibility on Tim Miller, the director of Deadpool, and from behind the scenes he began to push motivational speeches, which we seem to already have they heard something. “This is a terrific sequel,” “the very sequel that we have been waiting for so long.” Somewhere at this point it was worth beingware: in the same way, five years ago, Cameron spoke about Genesis.

“Dark Fates”, designed to return “the very spirit” of the original dilogy, actually look like an ultimatum hodgepodge of paths and plot moves that unsuccessful sequels brought to the series. This, like Rise of the Machines, is a direct continuation of Terminator 2, aggravating the conflict between people and Skynet (in this case, the Skynet substitute, which is even explained by the funny moral that “people don't learn anything” ) As in “May the Savior Come,” scenes in the post-apocalyptic future play a big role here. From Genesis to Dark Fates, comedic references and other postmodernist jokes migrated. It could be assumed that the team of scriptwriters (and they were exactly that team, as many as 7 people, including Cameron and David S. Goyer himself) incorporated into the new part all the best that their predecessors came up with, and finally gathered everything into a digestible story. In fact, it rather threw everything into a heap, making such a “Terminator” in a vacuum, an absolute cybernetic simulacrum, incoherent, chaotic and giving a very superficial idea of ​​everything that happened in the franchise from the very beginning.

From Cameron's original films, there is only a plot similarity - Dark Fates simultaneously copy the first and second parts, interfering with the problems of predetermining the future with the story of a quiet little woman confronted with a shocking fact of her importance. Only instead of Sarah Connor is a certain Dani Ramos, a heroine of a new order, in whose transformation the creators are trying to show how much the idea of ​​strong female characters in the cinema has changed over the course of three decades. The motive is good, the performance is not too much: somewhere in the middle of the film “Dark Fates” under the guise of a colossal twist they give out that Dani, you see, is not the mother of the Messiah and not the Virgin Mary, but the real Jesus is. And what exactly on her shoulders, and not on some abstract descendant, lies the future of mankind.

Everything would be okay, if this idea had not been presented with such an aplomb: the viewer, who is simply not given a chance to come into emotional contact with the heroine, for some reason should be amazed beyond measure that the role of a woman in society is not limited to motherhood. In addition, the film cannot completely decide what is more important to it: an innovative idea or a comfortable fan service. He often pushes new heroes behind the backs of colorful oldies and at the end gives the right to the “last blow” not to Dani and not even Cyborg Grace, but to gray-bearded Schwarzenegger (he also gets the best jokes, and almost all the airliners get older Sarah Connor). That is, the problem is not that the “Dark Fates” indulge some kind of “agenda”, but that inside their thoughts they are not able to go to the end, preferring to deny and hide behind safe references. And if their principles led to such an end, then what was the use of them?

Dark Fates also do the worst thing the sequels are capable of at all - destroying the emotional sediment of their predecessor, overriding what he so painstakingly deduced. In the first scene, Miller’s picture states: they say that all the events of “Terminator 2” happened in vain - the future remains the same, but John Connor was still killed (moreover, he was mockingly killed, right in the middle of the cut out happy ending from the second part). Here, of course, a lot of questions pop up: why should you be so proud that you ignore all the sequels after the second “Terminator”, if you commit exactly the same sins in the film for which these same sequels do not like so much? And after all, in the end, “Dark Fates” will surely fail, and they will have to be ignored already: some endless cycle of phantom sequels, Schroеловdinger sequels that both exist and do not exist.

However, there is a more important question for the new “Terminator”. How do modern filmmakers, with all the technological advances in the industry, make films that look worse than the 1991 Cameron film over and over again? Tim Miller does not know how to work with action kinogeny or computer graphics at all - where Cameron had innovative effects, which are still paradoxically well preserved, in “Dark Fates” is a complete falsity: any scene with CGI heroes looks like a movie from the game for PS2. Sometimes the film tries to surprise with big concepts (more precisely, exactly once, in the scene of a plane crash, as if inspired by the third Uncharted), but it lacks directorial skills to turn good ideas into an impressive visual performance.

Indeed, if you think about it, the very confrontation of two cars is an impossible and boring thing that doesn’t have particularly high stakes: we are well aware that heroes cannot die to the end, and Terminator cannot be killed so easily without some final deus ex machina. To make this interesting, one must either build a movie on suspense and fear of inevitable evil (the first “Terminator” or, say, “Alien”), or turn the film into a parade of inventive action scenes (“Terminator 2” or, say, “Predator” "). "Dark Fates" do none of this: they are not creepy, not lively and not even bad enough to make it fun. They just, well, exist - at least until the next sequel, which will ignore them too.