Review: 'Terminator' Finds Adequate Salvation

'Terminator Salvation' (PG-13)(out of four)

Nearly 25 years after Arnold Schwarzenegger warned, "I'll be back," the machine-dominated future is finally here with "Terminator Salvation" -- an explosive fourth chapter in the franchise that effectively brings the movie saga full-circle. Sure, the movie has its share of short circuits (those sensitive to sound, get ready for a lot of crashes, booms and bangs), but overall, "Terminator Salvation" accomplishes the mission that was destined for its hero, John Conner.

Director McG sets and maintains an ominous tone right from the get-go with "Terminator Salvation," which begins in 2003 in the prison cell of Marcus Wright (Sam Worthington), a convicted murderer awaiting execution. Courted by Dr. Serena Kogan (Helena Bonham Carter) to donate his body for an experiment with the robotic company Cyberdine, a guilt-ridden Marcus signs away his soon-to-be corpse, not fully-realizing the impact of his decision.

Fast-forward 15 years, where the clean and sterile environment of the first scene has turned into a gritty, post-apocalyptic world of chaos. Judgment Day came 14 years prior, when Skynet -- a network of artificial intelligence -- nearly wiped out humanity with nuclear proliferation and an army of Terminator machines in all shapes and sizes. The survivors, known as the Resistance, find strength in John (Christian Bale), a chosen leader guided by the recordings of his late mother, Sarah (voice of Linda Hamilton).

Unable to find a way to defeat Skynet, John's one shot at saving humanity lies within Marcus, who suddenly appears with no idea of whom or what he has become. But when John's wife, Kate (Bryce Dallas Howard) discovers that Marcus is a machine and human hybrid, he must decide whether to put his mistrust aside. If John doesn't penetrate the walls of Skynet's control center to save a throng of human captives -- including the teen destined to be his father, Kyle Reese (Anton Yelchin) -- his whole existence will be in peril.

While fans of the "Terminator" series will make sense of "Salvation's" complex storyline, newbies to the franchise may be all but lost if they don't pay rapt attention to the movie's prologue. Up for debate again is the whole idea of Kyle going back in time to protect Sarah's, and effectively, John's life -- and the leaps of logic it presents (Why does John need to save Kyle to go back in time to father him? John is already there).

This fourth film in the "Terminator" series finds its salvation in the strength of its new cast. An intense actor by nature, Bale's a good fit for John. Whether John is in moments of introspect or screaming in the heat of battle (which has hints of that infamous on-set recording), Bale for the most part makes the character convincing. Howard is strong as John's backbone and doubles as a doctor for the resistance, yet she feels somewhat underused. Yelchin (Chekov in the new "Star Trek"), on the other hand, makes his presence known as a wise-beyond-his-years Kyle, and could easily pass as a younger version of Michael Biehn's Kyle from the first film.

As important as the core characters are to the film series, they're given a run for their money by most of the new characters in "Salvation." Like Howard, rapper Common and Bonham Carter don't seem to get as much to work with as they should have; although Moon Bloodgood gets her chance to shine as Blair Williams: a smart, sexy and butt-kicking Hamilton-type of Resistance fighter.

While Bale and Worthington are billed as the leads, "Terminator Salvation" is really Worthington's film, as it concentrates as much on Marcus' destiny as it does John's. An Australian actor with the charisma of a young Russell Crowe and Gerard Butler, the relatively unknown Worthington delivers big in what is destined to be a star-making role.

Despite some interesting story twists, including an unexpected tale of redemption, "Terminator Salvation" is often overpowered by the film's special effects. That's not to say that the visuals and action scenes aren't spectacular -- they are -- it's just that they're a necessary evil if you want to tell the story of a world dominated by machines. All the "T's" are crossed here, from the T-600, 700 and 800 cyborgs; to a slew of new machines, including the Batpod-like moto-Terminators, hovering Terminators and mongo Terminators known as Harvesters. Gearheads will not be disappointed, but those looking for some soul in the movie, will be.

While the visual effects are a feast to the eye in "Salvation," they also represent the ultimate irony. Created by James Cameron, the "Terminator" series began as a cautionary tale about soulless machines becoming self-aware in an effort to eradicate the human race. The funny thing is now, "Terminator Salvation" couldn't exist without the major technological advances it uses to create its haunting vision.

Even a digital rendering of Schwarzenegger as a T-800 appears in the film, a move that didn't even require any new acting from the film star-turned-California governor. The paradox is, Schwarzenegger's Terminator was a cyborg covered with his likeness for the first three films, and now his face is being digitally superimposed on a faceless actor. In a way, it's kind of scary, because Schwarzenegger's presence as the famed character feels real.

Sure, the digital imposition is a far cry from fears examined in "Terminator Salvation," but it's noteworthy nonetheless. When he said he'd be back, he meant it.

--Tim Lammers is a member of the Broadcast Film Critics Association