There seems to be an idea out there somewhere, I don’t know where it came from, that Predator 2 is a markedly inferior sequel. This is wholly unjustified. Surely, everyone has their own opinions on how this measures up to the original classic, but to me, this is a great follow-up which expands on the ideas and premise in exciting new ways. Predator 2 contains numerous admirable qualities, and is helmed by a director with a great eye for sleek visuals. Anything it doesn’t recreate from the original it replaces with a higher energy and larger scale action.
In the urban jungles of Los Angeles, Detective Lieutenant Mike Harrigan’s (Danny Glover) police force is at war with drug lords and gangs. But just as Harrigan admits he’s losing the fight, one by one, gang lords are killed by a mysterious, fierce adversary with almost supernatural powers – the Predator. Before long, the vicious creature begins to hunt the hunters – Harrigan’s men. Now, Harrigan doesn’t just want to bring the creature in – he wants to bring it down. However, he is hindered along the way by government Special Agent Peter Keyes (Gary Busey) who has a shady motive to his secretive investigation who knows more about this ultimate hunter than Harrigan even suspects.
Surely, you would think going from Arnold Schwarzenegger to Danny Glover would be a strange swerve. I always imagined that if this was made a few years later that it would be Wesley Snipes as Mike Harrigan, but I’ll be damned if Glover doesn’t deliver here. The character is designed as a seasoned cop who’s been fighting this unrelenting war on the Los Angeles streets for a long time. He’s dogged, inventive, and is a cop who plays by his own rules, taking a backseat to no one. Glover portrays this with the rugged determination of a consummate street cop. He doesn’t like the politics that get rammed down his throat, and he slickly, yet passionately sticks it back in their faces. However, he is wholly loyal to his team, and treats them with respect as comrades in arms because they are fighting a war. Glover also demonstrates the emotional depth of Harrigan when his closest friend, Danny Archuleta portrayed by Rubén Blades, is gruesomely killed by the Predator. The flashes of enraged vengeance, and the heartfelt moment at the gravesite show Glover had the talent and skill for this role, which also demanded a lot from him physically. He greatly delivers on that end, too. I think making him a distinctly different protagonist than Dutch was the right way to go.
Many will indeed enjoy Bill Paxton’s performance as the jokey Jerry Lambert. He’s the newest member of Harrigan’s team known as “The Lone Ranger.” He’s a guy that’s gotten a lot of ego stroking and glory, but he quickly becomes an enthusiastic team player. This is Paxton at his full charismatic and comedic richness. He adds the levity to break up the grisly heaviness of the film. The rest of the supporting cast is filled out by Rubén Blades and Maria Conchita Alonso as the seasoned members of Harrigan’s team. Both bring their top level enthusiasm and talent adding to the cast’s vibrancy. Then, we get the late, great original king of trash television Morton Downey, Jr. as the appropriately cast tabloid sleaze-miester Tony Pope. He’s puts in a fantastically entertaining performance.
Now, Arnold Schwarzenegger was approached to return for this film, but he turned it down to do Terminator 2. Thus, his role was rewritten as Peter Keyes and re-cast with Gary Busey. I think this was an equally beneficial turn of events. The story works supremely better not knowing what Keyes’ agenda is, and allowing for him to be an adversary and foil for Harrigan. Busey does an excellent job bringing forth his signature energy and leaning Keyes towards the smarmy, shady side. He’s smart and cunning, but still a self-serving government agent who cares more about his findings for the military than Harrigan’s war on violent gang crime.
Also, I love the Jamaican gang here. They are totally savage and chilling with King Willie being fantastically awesome. He brings the mysticism into the fold with a wickedly cool scene opposite Harrigan, but also, a greatly visualized confrontation with the Predator. Calvin Lockhart is so awesome in this role. The theatricality, mystique, and powerful presence he brings entirely does justice to his Royal Shakespeare Company roots. He delivers my favorite performance of the movie. Knowing that director Stephen Hopkins was born in Jamaica, it doesn’t surprise me how rich and memorable these characters are here.
The visual effects are distinctly improved from the first movie. The Predator vision is the most obvious example as the infrared and other modes have more distinct color separation and possibly are of a higher resolution. The optical effects of the Predator’s cloak are used more dynamically and are integrated into more complex environments. We see it in more motion and detail. My favorite effects shots in the whole movie are when the Predator squares off with King Willie. First off, the tracking shot of the cloaked feet walking through the water is brilliant work, and then, the reveal of the Predator in the rippling puddle is awesome. Seeing how these are done in the featurettes on the Special Edition DVD are astounding and what I’ve always loved about movie magic. These striking, innovative images are largely due to do director Stephen Hopkins’ great visual style.
Teamed with regular director of photography Peter Levy, Hopkins gives Predator 2 its own unique visual sleekness. It has a great use of dynamic, intriguing angles. The action is captured remarkably well, and we even get a few scenes of atmospheric, moody lighting. Two of the best shot scenes are, first, inside the slaughterhouse bathed in blue light where the Predators assaults Keyes’ team, and then, the entire climax inside the Predator spacecraft. Counterbalancing that blue with a largely orange color scheme there is another sign of Hopkins’ great visual sensibilities. Beyond just the color schemes, these sequences have great use of sweeping cranes and steadicams shots enhancing the production and artistic value of the film.
This new Predator is recognizable, but has a bit different look and feel to him. He feels more brazen. He’s taking bigger chances, and taking on greater numbers. Hunting in a major metropolitan area means he’s attracting more attention to his work. So, he’s not as calculated, in general, but when he finds a prey he really likes, such as Harrigan, he takes his time to study him. He also taunts Harrigan as if he’s issuing an honorable challenge. I very much like that the filmmakers did this to show, even subtly, that this is another unique individual with his own personality, but with the same objective. It’s also great seeing the arsenal expand with the telescoping spear, the projectile net, and the flying disc. It gives the impression of a larger safari at hand where he’s equipped for bigger game. Kevin Peter Hall, yet again, does an awesome, exceptional job overall. He defined this role so perfectly, and it is a terrible shame that his life ended only a few years later. However, what he did laid the template for others to succeed him in this franchise.
The strengths of Predator 2 is that it is much more energetic and diversely entertaining than the original. The pace is faster as there is more going on here between the gang wars, Peter Keyes’ shady dealings, and Harrigan’s own dogged investigation. The action sequences are bigger and more dynamic allowing for a higher body count, but not as much gore. The film originally gained an NC-17 rating, but likely, Fox panicked and did more aggressive editing to secure an R rating. There is still blood abound and plenty of violence, but far less cadavers begin ripped apart. What we do see in that regard is obscured or done in heavy shadow. So, it ups the energy and action, but reduces the graphic content a little.
I would agree that these characters are not quite as captivating as those in the original. Neither film delves deeply into their characters, but it’s just the nature of battle hardened soldiers in a ominous jungle versus tough, seasoned cops on the streets of Los Angeles. One if inherently more intriguing than the other. There’s a little more levity in this film akin to a wisecracking John McClane in areas as Harrigan’s fear manifests in a few humorous quips. Since the film focuses more on an energetic pace with a more divided focus, there’s little mystique about the Predator himself. Again, he’s much more blunt and brazen, but you do lose that intensely dramatic build up to the third act. The Peter Keyes subplot sort of veers the emotional drive of Harrigan off-track, and the climax just becomes about having to stop this alien one way or another. There’s no more survival aspect, just hero versus villain. There is some peril throughout the third act, but none of it rivals the dire lethality and immediacy of the first film.
Still, the little teases we get at the end with both the Alien skull in the trophy room, the reveal of the half dozen other Predators onboard the spacecraft, and the flintlock pistol with the engraving of the year 1715 on it lay big seeds for a follow-up. However one might have felt about this movie, it surely left you intrigued to see how the next film could expand on these concepts further, but a proper third movie would not see fruition for another twenty years.
Predator 2 may not hit all the great qualities of the film first, but has entertaining trade-offs making it a more lively, faster paced action film. It again has a solid cast filling their roles with vibrancy. The violence and intense action are enhanced by stylish, sleek visuals and excellent editing. The optical visual effects are stunningly impressive pushing the ambition further, and with more time to plan, Stan Winston Studios developed the Predator further with great new weaponry and a fresh look. Alan Silvestri also returns adding some new flavors to his original themes, and adapting some of the feel to this film’s style and content. I would like to pay tribute to Kevin Peter Hall, Calvin Lockhart, and Stan Winston who have all passed on since this film’s release. All three did stunning work here that deserves notable credit and praise. This franchise, outside of the AVP films, has maintained a fairly steady stream of quality. The screenwriters of the first movie returned to expand on their own concepts, and it was executed very well by a competent and capable director. Predator 2 s definitely worth your while. It’s not as slam bang amazing as the first, but it’s a largely worthy sequel.
I think it goes without me saying that Predator is one of the best action films, ever. More importantly, this is my favorite Schwarzenegger movie. Smartly directed by John McTiernan, who would helm Die Hard the following year, this is an excellently plotted and cleverly devised concept utilizing a stellar cast to great effect. With an alien hunter designed by the masterful Stan Winston, and backed by some of the best visual effects of the time, Predator was an instant classic that truly solidified Schwarzenegger’s career as a blockbuster action star.
Recruited by the CIA to rescue hostages held by guerrilla fighters in a Central American country, Major Dutch (Arnold Schwarzenegger) and his elite team encounter an enemy unimaginably more deadly than any on Earth – because the Predator is not of this Earth.
The film starts out wasting no time by keeping the exposition succinct, and allowing for this team to progress to their objective quickly while still relating these characters to us. No one’s explored in depth, but you get a clear, personality rich snapshot of each man. Blain’s a hard ass, Hawkins is kind of a joker, Billy’s the stoic warrior, and so on. The entire first act sets up who these guys are, and what they are capable of. We see this is an expertly efficient team able to wipe out a legion of about thirty Central American soldiers within a few minutes. They are tactically sound striking hard and fast using the element of surprise. When Dutch’s team is referred to as “the best” early on in the briefing scene, we see that is not at all an exaggerated statement. They prove they are the elite, but even then, you can see these guys are spooked by this jungle. “Makes Cambodia look like Kansas,” sets the tone for how unnerved they are by its terrain and ominous feeling. Encountering the previous team’s skinned corpses surely rattles them a bit, but they never lose their wits. In fact, it practically heightens them for the more lethal danger that is stalking them.
Schwarzenegger shines here as Dutch. In addition to everyone else, this is possibly his most quotable movie. Arnold’s got that charisma going here with energy and authority. I love that Dutch is a soldier with a code of ethics for his men. He states straight out that his men are not assassins, merely an elite rescue team, and we see that conviction arise when he learns of Dillion’s deception. Schwarzenegger shows Dutch to be an honorable and sharply intelligent soldier commanding his men with precision. He proves himself to be a cunning warrior gradually picking up on the Predator’s methods, and adapting to them in order to survive. He’s perceptive and level headed, which is undoubtedly the sign of a great soldier. I think this definitely one of Schwarzenegger’s finest performances demonstrating the ability to realize a very authentic, dimensional, and smart character. Not to mention, I don’t think he’s looked so awesome on-screen without delving into a cheesy or campy tone.
Bill Duke especially does a touchingly effective job. Early on, he is a hardened soldier, but after Blain is lost, you see the grief and turmoil wash over him. Carl Weathers is great here as well portraying a man who was once a trusted friend of Dutch’s that has been corrupted by the “everyone’s expendable” mentality of a pencil pushing desk jockey. He’s lost sight of the qualities of a soldier and the value of life. However, we see him turning the corner as he rushes into his final battle, and I really like seeing that small character arc. Overall, this is a rock solid cast flexing both their acting muscles and their real ones in pure 80’s action movie bad assery. They all exhibit distinct personality that are vibrant, memorable, and straight up killer.
What it is that we lose with CGI monsters as opposed to a real life performer is exquisitely evident here. Kevin Peter Hall inhabited that beautifully textured and crafted Stan Winston suit, and created a character to live and breathe through it. Compare it to the personality deprived CGI creatures from Cowboys & Aliens. They were, as I said in that review, “just creatures designed to fill up the plot, and serve as a physical enemy to combat.” They had no distinct characteristics that made them any better than the Imperial Stormtroopers in Star Wars. The Predator has nuanced qualities that reflect an intelligence and cunning behavior. He’s a unique individual amongst a unique race. How he moves, reacts, and assesses a situation bring a subtle and intriguing depth created by Kevin Peter Hall’s amazing performance. It has all the traits of a talented performer crafting a character, and I am so tremendously glad that this franchise has never abandoned the performer in the suit approach.
As I’ve said in many previous reviews, the work of Stan Winston is legendary, and stands the test of time. He clearly revolutionized the creature effects industry with his artistic craftsmanship and captivating imagination. The Predator is an astonishing creation in all facets. The original creature the filmmakers put together for this film was ridiculous and was quickly jettisoned after only a few days of filming. Winston was called in, and with a little input about mandibles from James Cameron, this iconic, ferocious, and frightening creature was born. Beyond that, this is a very graphic and brutal film showing you skinned human bodies, spinal cords ripped from carcasses, and a disemboweled Jesse Ventura. Everything feels so grisly and textured for a greatly realistic feeling. This is some of the best gore effects I’ve ever seen.
And these visual effects essentially still hold up to this day. Certainly, the sequels have shown how digital effects can be used to improve and enhance them, but this is impressive work that hardly feels dated. This is mainly between the Predator’s cloaking technology where he appears as transparent ripples, and the laser sighting and discharges from his plasma cannon. There are some especially impressive shots featuring the cloak with more dynamic camera angles and motion where you get the real three dimensional quality of it. You see it’s not some animated effect, but a real optical composite of a real performer. These are all excellent visual effects.
This all blends perfectly with the gritty, sometimes smoky atmosphere of the film’s look. I think John McTiernan’s great eye for composition, interesting angles, and well constructed action shines through. In this jungle, we get the feel of the dangerous terrain and mysterious qualities of the dense foliage. The grit grounds this science fiction premise in a visceral reality where consequences are severely violent and lethal. Great camera movements and stylish, dramatic imagery highlight the artist merit of the cinematography, and it is all expertly edited together for a tight film which propels itself forward from the get go. .
Alan Silvestri put together one amazing score for Predator that has endured for the whole franchise. He incredibly blends a militaristic march and drive with a primal tribal, jungle beat. He builds a sense of ominous foreboding reflecting the reality that there is something out there stalking these men. For the majority of the climax, there is next to no dialogue of any sort. It is carried along by the action, the visuals, and the exhilarating score which enhances all of the tension, apprehension, and danger that is unfolding. It is perfect, superb work.
The action hits you at a regular clip, and the first main sequence is majorly explosive. It sets the bar high for the remaining runtime, and McTiernan is able to meet that challenge. It’s the mix of tension, the unknown, and the sheer scale of this rapid fire, big gun toting, grenade launching explosiveness that makes that possible. Yet, McTiernan knows how to build it up, and work the subtle strings of an audience’s anticipation. The danger escalates, and the peril becomes more immediate as the Predator moves in closer and closer to its prey. He starts out attacking from a distance, but gradually engages his ultimate trophy – Dutch – in close combat because the Predator views him as a highly worthy adversary
And that entire third act where it’s just down to Dutch and the Predator is a masterpiece. The strategy and makeshift tactics that Dutch puts together play out brilliantly. He uses the Predator’s own method of invisibility and striking from a distance to his advantage. However, it all elevates when the two finally meet face-to-face in a straight physical confrontation. Everyone knows that Arnold is a BIG guy, but next to this hulking seven foot tall alien beast, he looks small and nearly ineffectual. It’s only by his smarts and wits is he able to survive.
Predator is filled with chest pounding action and excitement wrapped in a smart concept and script. Backed up by an excellent action director, and a vibrant, colorful cast lead by Arnold Schwarzenegger, it was a surefire formula for success. This is why I love Predator. It never lags anywhere as the pacing is tight and the rhythm is consistent throughout right from the start. It’s really a near brilliant structure which constantly keeps you invested and intrigued by what’s developing here. You also can’t not quote the living hell out of this movie. It’s sharp, witty, but never betraying the serious tone of danger and lethality it sets from the beginning. It’s an absolute success that holds up incredibly well over time. I entirely intend to give you reviews on both Predator 2 and Predators sooner than later. Until then, revisit this classic.
I have had a rather unusual view on The Terminator for the longest time. I do consider it James Cameron’s best movie, and the best of this franchise. These are for reasons of pacing and innovative filmmaking. Yet, what I mainly consider this film as is not so much a science fiction movie, but essentially a techno-slasher film. You’ve got a hulking, invincible juggernaut of a killer stalking and hunting down an innocent young woman. That’s a bare bones plot description for both The Terminator and a Friday The 13th sequel. The vibe of the movie is very relentless and evokes a very techno-horror hybrid ideology. Beyond that quirk of perception, I do have many things to praise this film for that I feel James Cameron severely abandoned afterwards.
In the post-apocalyptic future of 2029, SkyNet, a super computer defense system wages a losing war against a human resistance which it is intent on exterminating. In their desperation, the machines send an indestructible cyborg known as The Terminator (Arnold Schwarzenegger) back in time to kill Sarah Connor (Linda Hamilton), the woman whose unborn son will become mankind’s only hope. In hopes of preserving humanity’s future, the human resistance sends soldier Kyle Reese (Michael Biehn) back in time as well to protect Sarah. But does he even stand a chance against the most unstoppable killing machine ever created?
Obviously, The Terminator has been widely praised since its release, and so, there’s not much I have to tell you that hasn’t already been said. Regardless, most of these reviews are about what these films mean to me and the nature of cinema, in general. James Cameron previously worked in the special effects world working on numerous lower budgeted pictures, but after a great deal of hard work and determination he scored his first major directorial job with this film. The budget was tight, but with Arnold Schwarzenegger’s growing star power from the Conan films, there was a lot of credibility and weight put behind this. Still, it wasn’t an easy task getting it made. The restrictions of budget and resources really did work towards the film’s benefit. It forced Cameron to be innovative and a bit of a guerilla filmmaker. It’s a perfect example of better creativity through adversity. As I mentioned in my Aliens review, I think once Cameron got a big budget and a lot of freedom as a filmmaker, he lost that edge and began to indulge in overly long films with far laxer pacing and storytelling techniques. He was still innovative in the technical realm, but not so much in the creative one where tight storytelling was concerned.
What I find to be so intelligent and original with what Cameron did with The Terminator is how he maintained tension and a tight cohesion of the plot. The main exposition in the film is dealt with in the midst of a car chase. The excitement and danger are high, keeping the audience intently invested in every second, and Cameron uses that time for Kyle Reese to impart a great deal of exposition about himself, the T-800, and the future war. In the vast majority of films, the exposition scene is a slow paced, quiet scene that is regularly the most derided scene in the film from the director’s perspective. Cameron changes that all up, and makes it one of the most captivating scenes by melding it with an intense chase sequence. From there, even the slower, character building scenes maintain some degree of urgency or dramatic electricity to never allow the film to lose your interest or attention. If not in the hands of James Cameron’s innovative and visionary filmmaking talent, I could surely see this movie slipping down into a B-grade sci-fi film that you’d see premiere on late night Cinemax. Believe me, those films do exist, and were heavily inspired by this far superior film. Having the right director at the helm can make a severe difference in whether a movie is brilliance or cheap exploitation fare.
This film is expertly shot with strong, sharp focus on every detail and bit of action. The night scenes are definitely gritty creating a dangerous edge and energy that wholly serves the tone and vibe of the picture. It brilliantly reflects the “tech noir” theme of the movie, showing us the dark side of technology. Cameron and his director of photography Adam Greenberg do a marvelous job all around. All of the action is shot with skill, dramatic weight, and great storytelling ability. Just in the way it is shot, The Terminator looks and feels like a 1984 film, and in all the best ways. It might have its rough edges here and there, but they work so excellently towards the energy of the picture. Overall, you can see the great, deliberate insert and close-up shots that establish and enhance the mood and tension of the film. The slow motion sequences are beautifully and masterfully done creating so much tension and dramatic anticipation. The editing of Mark Goldblatt is some of the tightest, most dead-on-the-mark work I’ve ever seen. There’s not an extraneous frame anywhere in the runtime of this movie. Every shot has purpose and cohesion to the kinetic and emotional beats of the story. Action directors of today should go back and watch this movie to see how you competently direct, shoot, and edit an action sequence. The car chases are great, but the entire police station massacre is insanely tense and masterfully shot and edited. It’s a major action set piece of the film, and it could not have been executed any better than it was. Yet, the climax is able to top that with a long series of action sequences from a car chase to the explosions to the final industrial plant confrontations. It continues to hammer home the seemingly indestructible nature of the Terminator as it continues to come back from one fiery explosion after another. It’s a frightening action climax where the monster simply will not die while our heroes continue to suffer more and more injuries hindering their ability to continue running away.
Michael Biehn is absolutely amazing as Kyle Reese. What strikes me first is the weathered, war torn quality of his performance. Reese does seem like a guy who has been through the darkest parts of hell on earth with both the psychological and physical scars to show for it. Biehn also has great physical intensity such as during the initial car chase where Reese is imparting the exposition to Sarah. There’s a depth of urgency, fear, and heart with every word he delivers. It creates someone that’s not just an action centric soldier, but a man with a solid core of humanity. The pain of Kyle Reese is deep seeded, and the trauma and pain that he has endured comes through in the texture of Biehn’s performance. This is a guy who does initially seem like an intimidating threat, almost serial killer like, but that intensity and frayed exterior are molded into a fascinating, sympathetic character that an audience deeply cares for before too long. Biehn’s romantic chemistry with Linda Hamilton is wonderful, and the tenderness that forms between them makes this so much more than just a testosterone fueled action picture. It has a lot of depth that has always been a strength of James Cameron’s films. He always seems to create very dimensional lead characters which enhance the nature of the films they populate. Why Michael Biehn’s acting career didn’t soar to greater heights after this movie is a mystery to me. It certainly did for Hamilton and Schwarzenegger.
It goes without saying that this was one of Arnold’s defining roles. While Conan the Barbarian was a big success, this propelled him into a whole new level of stardom. What he does at The Terminator was instantly iconic with only eighteen lines of dialogue. The deliberate movement and restrained mannerisms he devised for this Terminator create a cold, threatening, dominating screen presence. I have seen other lower grade actors attempt to approximate this sort of robotic performance, but Arnold just had something special. It’s the whole package from his size and build to the choice of punk or leather attire to the calculating way he surveys a scene. You can view a methodical yet relentless intelligence behind everything the Terminator does, and Schwarzenegger just hit it perfectly on the mark. There’s not a moment where you don’t take him as a serious, menacing threat, and after that is all solidly established by him, it carries over seamlessly when the flesh is burnt off and it’s just Stan Winston’s animatronic endoskeleton. While almost everyone seems to love when Arnold does the cheesy action films, I feel his best work is in the more serious roles because it creates a challenge for him. He has to dedicate himself to a far stronger character, and create something that stands out in a dramatic fashion. There are a lot of cheesy action heroes out there, but not many who can pull off the really serious, iconic roles such as Conan, the Terminator, or Dutch in Predator. Arnold can do both equally well, and that’s much of why he’s the action movie legend that he is today.
This film was especially pivotal to Linda Hamilton’s career, and the reasons why are vibrantly evident. While, as Sarah Connor, we see a great deal of panic and fear, it is all mixed in with a genuine sense of humanity. Sarah’s an average woman thrust into an extraordinarily intense and dangerous scenario, but ultimately, we see her inner strength shine through. When you first see her as a lowly waitress, you could never imagine she could come to survive and fight through this frightening, lethal experience with as much resilience as she ultimately displays. Hamilton gives us the full spectrum of emotion in an impressive dimensional performance that also adds in a layer of romanticism. The build up to the love scene between Sarah and Kyle is beautifully touching, and would be able to squeeze tears out of the more emotional audience members. That tenderness and depth of love and passion triggers the greater strength of the film that I mentioned before. It is a love scene that is not there for the sake of skin and titillation, but for the sake of love itself. At the film’s end, you can see the subtle seeds of what we will see Sarah become in Terminator 2: Judgment Day. In this film, Linda Hamilton is absolutely excellent giving us a sympathetic and strong character that stands the test of time.
And I have to mention the excellent performances of Lance Henriksen and the late Paul Winfield. Henriksen has some great humorous dialogue that is just enough off-kilter to be memorable. We’re so used to seeing Henriksen playing rather dark, disturbed characters, and so, it is a wonderful treat seeing him enjoy this upbeat, charismatic character. Winfield was always a stellar, sophisticated acting talent, and while Lieutenant Traxler has his streetwise qualities, he is a compassionate and intelligent commanding officer. He strikes the perfect balance between entertaining, charming character and capable, seasoned cop. Many films like this would paint all the cops as unlikeable fools, somewhat like Dr. Silberman is (appropriately enough), but instead, Cameron maintains his sense of humanity in these characters along with casting superb actors to realistically embody those qualities.
While the animatronics, stop motion, and optical effects work largely appears dated next to today’s sleeker digital effects, especially with the work done in the sequels, I think that gritty, rough edged effects work here benefits the overall style and feel of this movie. The stop motion animation in the climax evokes more of that techno-horror feeling taking the scary skeleton of the haunted house and meshing it with a dark science fiction menace. Stan Winston did an amazing job with all the physical effects further cementing his stature as an effects wizard and master of creature designs. Having clocked in stunning work with the Terminator, Predator, and Alien franchises, his quickly earned legendary status is no surprise. The visual effects were handled by Fantasy II, and for a mid-80s low budget science fiction picture, they did an excellent job. Combined with Cameron’s vibrant vision, they achieved something that really grabbed audiences’ attention at that time, and truly captivated their imagination. The brief future war sequences are stellar. The only thing I ever mark as a negative is the use of rear screen projection, which Cameron would use again in Aliens. It just never looks convincing, especially when compared to good quality blue screen composites. Regardless of that, these were very eye-opening effects in 1984, and they entirely serve the film’s dark, gritty tone.
The synthesizer based score done by Brad Fiedel encapsulates that tense, dark atmosphere of The Terminator. The compositions alone are excellent, and the main theme has become iconic. The use of the metallic percussion reflects the cold, mechanical heart of the Terminator, and gives us a rather chilling, ominous feeling whenever it appears. So many other cues are done with great feel for the intensity of their respective sequences maintaining the weight of the drama and action. Many instances again evoke a high tension horror atmosphere such as whenever the Terminator is seconds away from killing Sarah. The synthesizer sound perfectly fits for a 1984 tech-noir action film as it simply enhances that oppressive technological theme, and is an obvious sign of the times. However, it can get elegant and beautiful during the aforementioned love scene. Fiedel takes that heavy, almost claustrophobic type main theme, and rearranges it into a piano love theme that is sad, touching, and wonderfully gorgeous. While Fiedel would blow it out of the water with his work on Terminator 2: Judgment Day, what he does here is a solid, excellent fit for the kinetic energy and tense danger that is so tightly wrapped in this film while highlighting the depth that the film has to offer.
The Terminator is really amazingly well written. As I said, Cameron is able to raise the concept above the standard action movie fare by injecting dimension and emotional depth into his story and characters. They live and breathe as realistic people that an audience can attach themselves to, and that makes the rather fantastical story gritty, believable, and gripping. The dialogue is honest and real showcasing distinct personalities that leave a lasting impression, and with the stellar casting, it couldn’t be any more pitch perfect. It’s not just those iconic one-liners from Schwarzenegger or Biehn that make it great. It’s every nuanced quality of the characters and depth of the story being told that have made The Terminator a classic. Arnold Schwarzenegger has done movies with far more quotable dialogue, but they do not match the filmmaking quality and intelligence of this one. That is all due to the innovative creativity and artistic talent of James Cameron.
James Cameron had a vibrant vision for this movie, and was intensely driven to realize it on film. While he hasn’t lost vision, I do think he’s lost a number of exciting qualities that made The Terminator so exceptional. He used to be able to tell amazing and captivating stories in innovative and exciting ways. Even if the storytelling rhythm and cohesion became more lax in his subsequent films, we were still treated to things we hadn’t seen before, and were given stories that ignited our imaginations while still touching us deep in our hearts. The Terminator is an excellent example of what made Cameron a fascinating and awesome filmmaker for many years. However, as his budgets got bigger and his ego became overinflated, I just think he stopped caring about the story and characters, and was just more enamored with the evolution of visual effects and filmmaking technology. I would really wonder if someone gave James Cameron a $6.4 million budget today, could he still make a film as well made as this one.
This if my favorite film of the entire Terminator franchise, and I consider it the best film James Cameron has made. This is for the reasons of the tightness of the storytelling where not a scene, moment, or frame is wasted. While even Terminator 2 took the time it needed to tell the story it had to tell, I just love the relentless momentum of this movie. It has its character building scenes wrapped up nicely between and within the action sequences. No part of the film ever drags on. Coupled with all the amazing talents from the actors to the special effects mastery to the cinematography and editing, The Terminator is a lightning strike of stardom and awesomeness. I take nothing away from its 1991 blockbuster sequel, but there is just something so riveting about the lean and smart storytelling in this film that sets it apart for me. It’s that guerilla filmmaker mentality of better creative through adversity and budgetary restraints that sparks my love for The Terminator. Cameron showed the talent he had despite the restrictions of the production, and made a big impact when this hit theatres. Everyone who worked on the film believed strongly in it and Cameron’s ability to make it happen. It’s that ambition and hard working dedication which can set the exceptional filmmakers apart from all the others. This is a film that should be on every action and science fiction film fan’s must-see list. And while it’s not my favorite Schwarzenegger movie, it is one of his best.
It was an ambitious prospect to develop a sequel to Ridley Scott’s 1979 science fiction horror classic Alien. However, Twentieth Century Fox was highly pleased with what burgeoning filmmaker James Cameron was putting to paper that they waited until he finished production on The Terminator to have him complete that script. It became a huge blockbuster hit in the summer of 1986, and earned several nominations and awards. Unfortunately, for me, there has always been something about this film I never quite liked, something that made it nowhere near as great as people made it out to be. Add to that the disdain I’ve developed in recent years for James Cameron. I don’t think he makes films as good as he thinks he does, he has a huge unwarranted ego, and his pioneering of 3D digital technology really burns me. I hate the trend, and I hate Cameron for igniting it. I will truly brush these feelings aside, and critique this film as it is to pinpoint my issues with it. There’s plenty for me to deconstruct here.
Lieutenant Ellen Ripley (Sigourney Weaver), the sole survivor of the alien attack on the mining ship Nostromo, is awakened by a salvage ship after drifting through space in cryo-sleep for fifty-seven years in her escape pod. After her rescue, officials at the Weyland-Yutani Corporation (regularly referred to as “The Company”) give her a cold reception by revoking her flight license. Much to her horror, they reveal that planet LV-426, where her crew discovered the alien, has since been colonized without incident. However, when communication with the colony is lost, Ripley initially refuses to help, but her recurring nightmares and coxing by a representative of the Company, Carter Burke (Paul Reiser), convince her to accompany a group of Colonial Marines to investigate the situation. What awaits them all is a swarm of Xenomorphs that have infested the colony, the likes of which these marines are not prepared for, but Ripley will ultimately not be deterred from confronting and destroying the horror that haunts her.
I hate to start off on a bad note because there are highly admirable qualities to credit in this film, but this is an exploration of me understanding what I haven’t like about this film for so long. Only now, by way of actually analyzing the film, can I pinpoint those reasons. However, that doesn’t mean I have all bad things to say of it, but let me get the nagging issues out of the way first.
I feel Aliens is downgraded by its aesthetics. Part of that problem was the choice of film stock used in the Kodak Eastman type that was only in use for a very brief period of time. The reasons for that begin with excessive grain and ends with a difficulty in processing blue screen effects. Aliens is a very grainy film, and in addition to that, has very bleached out colors. The color palette is very flat. Blacks aren’t black, and with a film of this sort, creating light and shadow contrast is very important. This creates a rather visually bland presentation that fails to match the highly atmospheric quality of Ridley Scott’s 1979 original. I believe that some of these problems have been rectified on the Blu Ray release which Cameron himself supervised. I wish I could view that version so that, maybe, some of my gripes with the film would evaporate. However, that’s not all, but I will cover those later when I address the visual effects.
I have to take issue with some of the characterizations in this film. Sigourney Weaver, Paul Reiser, Lance Henriksen, & Michael Biehn are all excellent, and inhabit their roles well. Their roles are also well written and well conceived. Them, I have no issues with. It’s the arrogant, chest pounding, and sometime weak-willed Colonial Marines. Yes, they are big, colorful characters that are memorable and quotable. That doesn’t mean they’re well conceived characters. For example, let’s compare these marines to the elite team from Predator. A group that is memorable, quotable, full of personality, but also, not a bunch of guys you’d ever want to cross. They are not arrogant, just confident, but know how to respect a dangerous situation when they enter it. They operate like a cohesive unit, follow orders, have great respect for one another, and keep their mission objective clearly in view. They get the job done, and never flex any ego. The marines from Aliens do nothing but talk tough and act as if they’re invincible bad asses. I understand the intent of showing them as if they believe themselves to be so great that nothing can best them, and then, get dropped into a situation of a cold, hard reality check. The same thing happens in Predator, and I think it’s done better in that film because you see how realistically capable these soldiers are. They’re the real deal, and when you see that these seriously experienced, professional soldiers are afraid of what’s out there, it sells the situation even more. As for that reality check shocking the marines down to size? You still have Bill Paxton’s Hudson acting like a buffoon all the way through the film. Someone of this weak will and lack of backbone would never make it into any military organization today, and Hudson does more to sell the incompetence of this team than anything else. These marines also don’t follow orders when they’re given, and instead, subscribe to foolish, egotistical behavior to satisfy their own ignorant bravado. It’s the character I have issue with, not Paxton. I believe Bill Paxton to be a very good actor that eventually was given to chance to break out of this buffoonish stereotype, and that was a very thankful turns of events.
What really downgrade the quality of this film, for me, are the visual effects. Keep in mind that James Cameron comes from a visual effects background as I point out these issues. Firstly, and briefly, the use of rear screen projection backgrounds come off as low grade. Even George Lucas tried using this in Star Wars, but when he saw how bad it looked, he swore it off never to be attempted again. Cameron uses it here instead of blue screen effects, likely, because of the aforementioned crappy film stock he chose to use. Again, this is from a filmmaker who started in visual effects. Next up, the miniature vehicle photography is not convincing. Miniatures are small and lightweight, but the photography of them is meant to fool you into perceiving them as full-sized versions that weigh, sometimes, thousands of pounds. Filmmakers tend to shoot them at a higher frame rate that when transferred to 24 frames per second, create a slower moving object with a lot of mass to it to sell their realism. Here, all the vehicles and ships move about with no realistic weight. They fly around or drive across the planet’s surface with no gravity or mass about them. The drop ship banks, lands, and takes off like a radio controlled toy. The armored personnel carrier throttles around and bangs into corridors like a go-cart. Something with a lot of mass, like these vehicles should have, would maneuver slower with bigger, wider movements. More mass means more power is needed to propel them. Think of how an eighteen wheeler, a humvee, or a helicopter move. They maneuver slower than lighter weight vehicles, but that is not translated into this film. I also have had this exact same problem with the future war sequences in Cameron’s Terminator films. SkyNet’s huge Hunter-Killer gun ships flying through the air and making hair-point turns always looked incredibly awkward and unrealistic to me.
An extension of all this is the lack of visual atmosphere used to hide the limitations of sets, miniatures, and visual effects. Ridley Scott and his team achieved this visual disguise greatly with Alien using light, shadow, and smoke to disguise any budgetary limitations, or to blend miniatures, live action, and visual effects into a seamless whole. Clearly, something Scott continued on with in Blade Runner. The bonus of this in Alien is that it created a rock solid mysterious horror atmosphere that intensifies the overall unsettling nature of the movie. Here, you can see the lack of depth and scope in the shot where you know it’s a soundstage set when it’s supposed to be a convincing alien planet landscape. I’d expect that from an old episode of Star Trek that didn’t have the budget or technical knowledge to disguise these production shortcomings. I would not expect that from a film that had an even BIGGER budget than Ridley Scott’s film which achieved better results on a smaller budget. Again, James Cameron comes from a background of visual effects where he should know how to blur those lines, but what is displayed here would not at all reflect that experience.
James Horner’s score is somewhat mixed for me. The cues he uses for the marines early on are very thin and weak. His snare drum track sounds like a demo recording done in someone’s garage. Again, I have to refer to Predator as Alan Silvestri really brought a powerful, meaty militaristic theme to that film. Since Aliens really is more of a science fiction action picture than a horror genre creation, I can’t critique a lack of suspenseful cues, but it could’ve helped. The score services the big action moments well, but despite what praise it has been given in decades past, I never found it all that compelling or exceptional.
Sigourney Weaver surely earned the respect and praise she received from her performance in this film. The evolution of Ellen Ripley here is entirely on the mark. Being the sole survivor of such a horrific experience, she would be a haunted woman waking up in the middle of the night in a cold sweat, and be determined to see this species wiped out of existence. She’s traumatized, but is able to battle through that. She takes her fear, and uses it to focus her eventual leadership skills. You constantly see her battle against her intense fear in order to see her real world nightmare end. Weaver also projects a warm, motherly sensibility while caring for the equally traumatized Newt. The makeshift family they create with Hicks is rather brilliant.
Speaking of which, Michael Biehn brings his great, natural humanity to Corporal Hicks. He shows the character to be a natural leader with confidence, decisiveness, and intelligence. Hicks is definitely the guy that will have your back all the way. Just as he was in The Terminator, Biehn shines through as a wonderfully dynamic and emotionally powerful actor. His warmth and chemistry with Sigourney strikes the right, soft chord. They work extremely well together with a mutual respect that penetrates through the screen. I’m not sure that the original casting choice of James Remar would’ve embodied those qualities so strongly or naturally. Michael Biehn was an amazing, fortunate happenstance in this instance.
Paul Reiser had some nice breakout roles in the 1980s including his appearances in the first two Beverly Hills Cop movies. Here, I love his performance! Burke is the textbook company man working his public relations angle with a compassionate façade while hiding a smarmy corporate mentality. Reiser plays both ends of that spectrum well, and he allows them to mesh into a cowardly weasel who always seems a slight bit suspicious. At first, he comes off as a genuinely decent fellow, but as the story unfolds, Reiser gradually peels that back as Burke gets closer to his goal. It’s a nicely subtle piece of acting that rides a fine line,, but it surely is effective.
At this point in time, Lance Henriksen was making an impact with some unique, standout performances. Bishop is a career highlight, indeed. “Artificial person” so fits the description of him. He has human qualities, but they are slightly off. Again, subtlety enters the approach with an air of eerie creepiness to the droid Bishop. Not in a malevolent way like Ian Holm’s Ash from the previous film, but as something just uneasy, unsettling about him. At first, he doesn’t appear to be anything but human. However, the more time an audience spends with him, the more these peculiar aspects nag your attention. Because of Ripley’s own unease around a droid, an audience can also gain an uncertainty about him, but it’s great how the relationship between Ellen and Bishop builds towards a place of trust.
Now, James Cameron bringing in Stan Winston and his team was a brilliant, logic move. You would need someone of Winston’s caliber to put together something impressive like the Alien Queen. The improved designs of the egg, facehugger, and chesterburster are excellent bringing more articulation and realism to them all. Now, I don’t have a preference between the original “smooth head” Alien from Ridley Scott’s film or the more “ridged head” Aliens featured here. I think they both work fantastically, and surely suit the demands and lighting aesthetics for their respective films well. Here, the more detailed and ridged craniums give the drones more character with a few little highlights here and there to make them standout more against the darker environments. Stan Winston was a legend in this field, and his contributions made the industry what it is today. He will be missed beyond words due to his passion, personality, skill, and artistry. He left behind a legacy of respect and admiration.
I have zero problems with the story in Aliens. It is a great progression and a smart direction for a sequel. Following Ripley through this journey from a troubled woman trying to avoid her trauma to one who confronts it head on to defeat it with intense courage is a powerful story. She finds her strength through the new emotional bonds she forges with Newt and Hicks. The more action oriented approach is something I don’t have much of an issue with, but a little more suspense and terror could’ve gone a long way here. There are those moments, but they’re more “jump out and scare you” bits instead of finely crafted suspense. Aliens has some exciting sequences that are well conceived. The climax has become a cinematic classic with Ripley squaring off with the Alien Queen in the powerloader. It was a very original, massive crowd pleaser that put Ripley into a great, forceful position.
I’ve only ever watched the Special Edition of Aliens as it is James Cameron’s preferred version of the movie, and while it has all the substantive character depth and proper storytelling elements, it does feel too long at just over two and a half hours. Cameron seems intent on making overly long films that lack the rhythm and pacing he so excellently captured in The Terminator. Once he got a big budget, he started over-bloating his scripts and cutting down on storytelling innovations. Sometimes, the restrictions of a smaller budget and limited resources force a filmmaker into creating a better, tighter product than when they are given access to all the tools with free rein to use them how they wish. I feel that is the case with Jim Cameron. As time went on, he seemed less interested in making compelling stories and more interested in flexing his budgetary ego. I respect the innovations he has motivated in the realm of digital visual effects, but great special effects alone do not make for a great film. However, all he seems interested in is pushing technology forward at the expense of quality storytelling.
All of this began here with Aliens. He still was creating a quality story backed by a few strong, solid actors, but he surely could’ve tightened it up in areas during scripting. Still, what irritates me when watching this film are many of the technical issues with visual effects, rear screen projection, the photography of the miniatures, and the poor choice of film stock. Furthermore, the poorly conceived Colonial Marines, aside from Hicks, are cartoonish buffoons that like to stroke their own egos instead of getting serious in a serious situation. These are all elements that make a substantial negative impact upon the film for me. It has plenty of good qualities to it from the strong lead performances and practical creature effects, but with a film so long, the negatives inevitably linger to repeatedly damage my enjoyment of the movie. Maybe, one day, I will watch the theatrical version and feel differently about that shorter cut, but if I was to judge this the way I intended, it had to be the director’s preferred version. This is an off occasion where I didn’t review the film for the sake of opening people’s eyes or rousing anyone’s interest. It really was just so I could deconstruct what always bothered me about this movie, and see the shortcomings that have prevented my full fledged enjoyment of it. I’m sure many would not perceive these same issues, but if everyone had the same point of view on everything, it would be a very uninteresting world.