Time-transcending vision

Rating: Null/10 (30 June 2003)

A very good Sci-fi film, and a fantastic entry into the filmmaking world for James Cameron. The Terminator brings together some of the greatest visuals ever to be seen from a, at that time, no name director fighting desperately to keep his career afloat with a pretty minute budget. Though special effects have far transcended this film, very few have better directed the special effects techniques than James Cameron. I would argue that The Terminator was the most ambitious sci-fi film since the original Star Wars premiered less five or so years before, and very few films come to mind in the past twenty years who'd give either a run for their money in terms of ambition.
Even though most of the effects and their creation method identified, it truly was some amazing material in 1983/84. But it's not the stop motion or anamatronic endoskeleton that people take with them from this film, it's not the techniques themselves used to create the effects  it's the visionary behind it that sticks with the viewer. How the shot comes together and jumps right out of Cameron's portfolio, well executed by Fantasy II, Stan Winston, and their respective crews. But visual signature alone won't make a film. While not the greatest drama/emotional premise to come around, the Terminator sports a more convincing tale and depth than your average sci-fi film with many intriguing and original twists turns and morphs of standard formula driven plots, fun with paradoxical timelines, a love across time, the slasher killer who won't die, all rolled up into one and thrown our way in an ever-moving package.
Acting fares from typical Sci-fi par to some impressive performances, and most of the main characters do surprisingly well-Biehn, Hamilton, and Schwarzenegger. The always fun Lance Henrikson has a small but worthwhile role. Most of the lesser performances come from smaller characters, but the world James Cameron has painted is so well conceived and so inviting that unless everything from production on down stunk, you'll forgive it.

Brad Fiedel's score is on par with the acting. In places, it's typical synth-conceived sci-fi, but the score's highlight comes from its stalker mechanical/heartbeat theme associated with the Terminator himself, and its now famous main theme which, interestingly, finds its most powerful moment when performed only on piano for Reese and Connor's intimate moments together. And, fortunately, Fiedel would return almost ten years down the road to bring us the excellent score for Judgment Day.
Not so surprisingly, The Terminator has transcended time, and still remains one of the greatest sci-fi films anyone can lend their time and imagination to.