Terminator fans continue to live in a bubble that has only opened to embrace the low-fi FOX series. When “Genisys” tries to retreat the 1984 and 1991 sections, the material feels hollow. Kyle Reese now remembers life before the War and he has far more knowledge going back to 1984 Los Angeles. We get the Griffith Park fight and the new timeline of Pops and Sarah. Why does this matter? Why does any of it matter?
The anarchy of time travel is that anything can be reset. Any bad idea can happen, any good idea can happen, but nothing ever changes. Whether it’s a lone road at night, a quick trip to a Mexican gas station or hiding out in a mountain Army base; nothing you do changes that much about the future. Skynet is absolute as an archaic computer defense system or killer app.[/text_block_nav][text_block_nav title=”Conclusion”]”Terminator: Genisys” doesn’t have a soul. When we see Pops absorb the liquid metal at the end of the film, it’s almost symbolic of what we’ve seen go down so far. No matter how stupid, tired or cliche the action, everything can be adapted to entertain a wilting audience. The constant push to mine the past for the framework of terrible present ideas is killing major releases. Major studios don’t understand the power of nostalgia outside of crude iconography.
The iconography is broken and mutated into objects that don’t make sense anymore. I don’t need to revisit T2 again, I have the Blu-Ray. I don’t need to revisit Dyson’s kid, as it didn’t matter to the story. The least said about Matt Smith, the better. Judging by the Box Office, I can see that America has started repeating my mantra from the last Terminator outing. Let this franchise die.[/text_block_nav]