View Post

Killing Ground

Australian, Review, Theatrical, This Week Leave a Comment

A young couple on a road trip, Ian (Ian Meadows) and Sam (Harriet Dyer), run afoul of two opportunistic back-block predators, German (Aaron Pederson) and Chook (Aaron Glenane), in Killing Ground, an assured survival horror from debut feature director, Damien Power.

Killing Ground is the latest in a long tradition of Aussie “don’t go into the bush” terror tales; Wolf Creek is only the latest, most visible example, but Power is savvy enough to draw influences from deeper cuts, such as 1978’s Long Weekend. While the two Aarons provide the most immediate, unnerving threat to our wayward city couple, the setting itself is also a villain. This is a classic Bad Place narrative. We’re casually informed at one point that the isolated camping ground where Power sets his horrors is the site of of an Aboriginal massacre, and it’s no accident that our lead antagonist is played by the Indigenous actor Pedersen (Mystery Road) in an incredibly menacing turn. A sense of foreboding is established early on in the proceedings that never lets up, only growing inexorably heavier and more agonising as the inevitable atrocities loom nearer.

The sense of terror is heightened considerably when the film makes the bold choice of splitting its narrative, jumping back in time to explore the fates of an earlier set of victims once Ian and Sam discover an abandoned family tent at their remote campsite. It’s a clever conceit, subverting the usual straight-forward plot construction of the survival horror genre.

It also ups the body count significantly. Power doesn’t shy away from confronting and, at times, genuinely upsetting imagery, although when it comes to actual depiction of brutality and assault he knows when to let viewers draw their own conclusions from what is implied onscreen. There’s a stark, harsh matter-of-factness to the violence we see; the film doesn’t bother with exotic weaponry or elaborate, ritualised tortures, instead reminding us that a cruel man armed with a rifle is terrifying enough. It’s the plausibility of the scenario that chills; add to that an element of child endangerment (a toddler is thrown into the mix at one point, and the film milks the poor mite’s terrible vulnerability for all its worth) and there are times when Killing Ground is almost unbearable.

In that good way, of course. Horror fans are in for an absolute treat here; Power and his team understand the conventions of their genre and know exactly when to subvert them and when to double down. Killing Ground might lack an iconic figure like Mick Taylor around which a real cult audience could form, but it’s the real deal; a taut and torturous journey into darkness.

 

 
View Post

Agents of Mayhem

Game, Home, Review, This Week Leave a Comment

Your enjoyment of Agents of Mayhem really boils down to one question: are you a fan of Saturday morning cartoons? As a youngster – or, hell, a full grown person – did/do you thrill to the slightly generic, safe violence of G.I. Joe, Teenage Mutant Ninja Turtles or The Transformers? If no, then Mayhem will cause you to roll your eyes and sigh loudly, a lot. If yes, then we have much to discuss.

Agents of Mayhem is set in a futuristic Seoul, South Korea. MAYHEM is actually an acronym for Multinational Agency Hunting Evil Masterminds, and it’s up to you – playing as twelve different heroes (fourteen with pre-order) – to stop LEGION aka League of Evil Gentlemen Intent on Obliterating Nations.

If the above paragraph sounds like insane nonsense to you, congratulations – you are correct. Agents of Mayhem is a powerfully silly story, but where it shines is with the heroes themselves. You can team up said protagonists into groups of three and switch them on the fly. Personally I enjoyed a team consisting of Daisy the alcoholic derby girl with a Gatling gun, Oni the insane, serial-killing former Yakuza who fights with fear and a silenced pistol and Braddock, a tough-as-nails former military lady who brings the pain and airstrikes. However most combinations can be effective, and unlocking each of the new characters and experimenting with them is a great deal of fun. The variety of characters you can choose from is such that even if you find half a dozen of them annoying – and you will probably will – there are likely just as many you’ll kind of dig.

The first ten or so hours of AOM are fantastic, you’ll unlock characters, defeat boss enemies, investigate underground bases and slowly take Seoul back. The problem is at around the halfway point the game stops evolving in any meaningful way. It’s still fun, mind you, but the repetition becomes a little deadening after a while and Volition’s trademark humour becomes less edgy and more annoying-younger-brother-on-a-sugar-high as time goes on.

Enemy variety is also a little disappointing, as you end up fighting the same faceless, generic robo-soldiers over and over. If one were to be particularly kind one might suggest it’s a knowing homage to the cartoons that pulled similar crap in the 1980s, but even if that’s the case it still doesn’t make it any more engaging.

Those caveats aside, Agents of Mayhem is a lot of dumb fun. The run-and-gun gameplay is an absolute joy and triple jumping around the huge (albeit somewhat lifeless) map never stops being a blast. Like the disposable Saturday morning cartoons it seeks to emulate, Agents of Mayhem is a slight, goofy good time that offers colour and movement but it’s unlikely to leave a lasting impression.

 

 

 

 

 

 

 
View Post

American Made

Review, Theatrical, This Week 1 Comment

Hark to the tale of Barry Seal (Tom Cruise) underachieving, high-dreaming commercial pilot who, in the mid ’70s, is approached by a shadowy (aren’t they all?) CIA agent (Domhnall Gleeson) to start doing a few odd jobs for The Company.

At first it’s pretty hair-raising but almost innocuous stuff, like snapping a few reconnaissance photos over particularly volatile patches of Central America. Then it’s running money to “friendly” figures like Panama’s Manuel Noriega. Before long it’s making nice with Pablo Escobar and the Medellin Cartel. And then, almost before you know it, our man Barry is the de facto head of Air America Mark II, running guns, drugs, money, and Contra rebels in, out and across the USA, all at the behest of Uncle Sugar. The money is fantastic and the work is interesting, but how long before it all goes to hell in a handbasket?

We’ve seen this kind of story before – the unreliable, garrulous narrator, the guided tour through the underworld, the colourful characters, the dizzying highs, the inevitable fall from grace. Scorsese’s Goodfellas is the most obvious and best example of the breed, but consider also Lord of War and Blow. American Made might not be as fine a film as Goodfellas (to be fair, few are), but it’s still a propulsively entertaining ride through the underbelly of America, thanks to deft, energetic direction from Doug Liman, and a charismatic, layered performance from the Cruiser.

It’s sometimes easy – and encouraged – to forget what a committed performer Cruise is, especially with dross like The Mummy still in the rear view mirror, but he gives a great turn here as the affable, “aw shucks” Seal, whose journey into the dark heart of American foreign policy is made palatable by Cruise’s easy charm. As Seal’s exploits get weirder, the crimes get bigger, and the money begins to pile up (literally – one of Seal’s logistical problems is trying to hide literal bales of cash) to the point where it beggars belief, it’s Cruise’s to-camera narration – a conceit that comes to make sense in the final stretch of the film – and “I know, right?” attitude that helps us go along with even the most outrageous story elements, such as when Seal is running a training camp for Contra guerrillas on his rural property at the behest of the CIA.

That, more than anything else, is Seal’s function as a character in his own story – to put a human face on the almost unbelievable machinations of the secret state, and to guide us through the murky nexus where crime, espionage, politics and business commingle. On the surface, American Made is the story of an individual, but in its heart it’s really about these titanic forces, how they play against – and with – each other, and what happens to the people caught in their gravity.

Of course, America Made is a “print the legend” affair, and while Seal’s career as a drug runner is well documented, his connections with the US intelligence community are far more dubious. Liman and screenwriter Gary Spinelli know which version of events makes for a better story, though, so it’s best not to get too caught up in notions of what is verifiable – or even plausible – as Seal’s exploits take him right into the nerve centre of ’80s America’s “war on drugs” and the Iran-Contra scandal, complete with close encounters with Oliver North and other key players.

Inevitably the wheels come off, of course. Will it be due to Seal’s ne’er-do-well brother-in-law (Caleb Landry Jones doing another of his trademark dirtbags), who just can’t seem to keep a lid on the good deal Seal has engineered for his family and friends? Or will Jesse Plemons’ small town sheriff finally twig that the sheer amount of money Seal is bringing into their little burg is a bit beyond the pale? Or will the Medellins or the Company simply remove the shoot-from-the-hip Seal in the most efficient and ruthless manner possible? That would be telling (then again, so would a quick Google search for the real life Barry Seal) but, as in so many things, it’s the journey, not the destination.

And American Made is quite a journey. There’s a deep cynicism at the heart of Liman’s film even when it’s being irresistably entertaining, a mistrust of the American systems of both government and commerce – and particularly the ways in which they interact – that colours the proceedings, giving a bitter edge to even the most madcap of Seal’s adventures, and the inevitability of his fate is a crucial part of the equation. Ultimately, American Made is about how individuals are used and abused by monolithic, complex systems of power and money, disguised as a wild ride with the cocaine cowboys of Reagan’s America. For all his bravado and daring, his cocksure charm and can-do attitude, Cruise’s Barry Seal is just one more asset among millions, and his rugged individualism can’t save him from the scrapheap when he’s outlived his usefulness.

 
View Post

Good Time

Review, Theatrical, This Week Leave a Comment

When you consider Cosmopolis, The Rover, Clouds of Sils Maria, Personal Shopper, The Lost City of Z and now this, who would have guessed that some of the most interesting and original films of the last decade would come from the two leads of the Twilight series? Robert Pattinson’s come a long way since then, and Good Time further solidifies him as one of the most exciting actors working today.

Here, his physical and behavioural transformation is scary. He plays the kind of guy you never want to cross paths with; fearless, violent, and surprisingly charming when he needs to be. He somehow manages to be likable even after doing things that will utterly disgust you.

Writers Ronald Bronstein and Josh Safdie (who also directs with his brother Ben) waste no time setting up the narrative. Pattinson plays Connie Nikas, who along with his mentally-challenged brother Nick (also played by Ben Safdie), is in the business of robbing banks. Connie is protective and nurturing,  but also carelessly dragging his brother  down a very unsafe path for someone in his condition – and that’s where things go horribly wrong. Nick panics in front of police and gets himself caught, and the remainder of the film revolves around Connie’s desperate attempt to raise $10,000 in one night for Nick’s bail.

What the Safdie brothers (Heaven Knows What) have done really well is to construct an almost real-time feature that doesn’t lose momentum throughout its entire 100-minute runtime.

Despite his scumbag appearance, Connie is quick-thinking and highly resourceful, which allows the film to move from one scene to another in a believable manner. Sure, some of the supporting characters and plot devices aren’t introduced very subtly, but they do regularly shift the entire course of the film to keep you on your toes.

This is some of the most intense filmmaking you’re likely to experience this year, and much like Christopher Nolan’s Dunkirk, incorporates very clever audio and editing techniques to raise anxiety levels – most important of which is the penetrating score by Oneohtrix Point Never.

While it isn’t as stylish as Drive, clever as Run Lola Run or disturbing as Irreversible, Good Time is a remarkable feast for the senses.

 
View Post

Marvel’s The Defenders

Home, Review, Television, This Week 1 Comment

And so after five seasons of Marvel Netflix superheroic shenanigans, from the highs (Daredevil Season 2, Jessica Jones) to the lows (goddamn Iron Fist), we come to the inevitable culmination: Marvel’s The Defenders, which sees our four street level vigilantes come together to take on – who else? – The Hand, the shadowy organisation of ninjas, zombies, and ninja zombies intent on taking over New York City.

The good news: it’s a damn sight better than the woefully misjudged Iron Fist. For one thing more care has gone into the production of The Defenders – it lacks the rushed, haphazard, undercooked feeling that marred poor Danny Rand’s first TV outing. For another, Danny (Finn Jones) is a much more appealing protagonist when he’s got other characters sharing the spotlight – especially when they’re a blind guy, a woman, and a black man who are all more than happy to tell the rich white kid when to check his privilege when the need arises.

It’s Danny who drives the plot engine, in fact; he and Colleen Wing (Jessica Henwick) have been hunting down The Hand around the world, and it’s their crusade that brings them back to NYC and into the orbits of lawyer/vigilante Matt Murdock (Charlie Cox), private eye Jessica Jones (Krysten Ritter), and ex-con Luke Cage (Mike Colter), none of whom really want to get mixed up in any kind of shadowy back alley war. Murdock has given up his Daredevil persona (shades of The Dark Knight Rises there), Jones is content to drink and take the odd PI gig, and Cage is focused on tracking down a Harlem teen who has gone missing after taking a mysterious job (again, shades of DKR). It takes a bit of maneuvering to get them all in the same place and punching in the same direction, but it’s worth the wait.

In the blue corner we have Sigourney Weaver’s Alexandra, the face of The Hand, pursuing a mysterious but doubtless world-threatening agenda. Weaver’s no stranger to genre fare – she’s Ellen Ripley, for crying out loud – and she’s never less than watchable, but seems a little ill at ease with the often portentous dialogue she has to get her mouth around. She’s also ill-served by the glacial, repetitive way that we’re introduced to her character, a series of brief scenes, isolated from the main story, that are determined to drop veiled hints at a character trait we’ve all guessed long before the show deigns to tell us.

Indeed, pacing remains an issue with The Defenders, even though it runs at a cut down eight episodes rather than the usual Marvel/Netflix 13 episode season. As has been the case with every series so far, there’s simply not enough story to stretch comfortably over the allotted hours. Happily, the character interactions are enough fun to keep you interested – at last we get the Luke Cage/Iron Fist meet-cute/punch up we’ve been waiting for (it’s a thing), and streetwise Jessica Jones telling Matt Murdock his secret identity isn’t much of a secret is never not funny.

We also get cameos from the supporting casts of every preceding series, including Rosario Dawson’s Claire Temple, Simone Missick’s Misty Knight, and Elden Henson’s Foggy Nelson (Cage marveling that Foggy lets people call him that is a riot). However, the key returning players are from Daredevil’s neck of the woods: Elektra (Elodie Yung), now a living weapon wielded by The Hand, and grumpy old ninja master Stick (Scott Glenn), who remains a curmudgeonly delight in every scene he’s in.

The action, when it hits, is pretty great – and certainly an order of magnitude better than Iron Fist‘s disappointing choreography. Part of the fun in these sort of things is seeing how the different characters’ power and abilities compliment or contrast with each other, so we get to see what happens when Iron Fist’s, er, iron fist, meets Luke Cage’s unbreakable skin, and how martial artists match up against opponents with super strength. For all that, the feeling remains that Marvel/Netflix are still chasing – and falling short of – the high watermark that is Daredevil Season 1’s hallway fight, but not for want of trying.

Perhaps inevitably, it lacks the thematic and narrative cohesion that defines the better works in the overall series, but based on the four episodes released for review, The Defenders does exactly what was promised, delivering the requisite action, quips and character interplay, but not quite managing to push into any new territory. Everyone already on board will be well satisfied, and newcomers should find enough to keep them engaged, too.

 
View Post

The Dark Tower

Review, Theatrical, This Week 3 Comments

Stephen King’s The Dark Tower book series is epic in every sense of the word. The eight volumes span time, dimensions, other worlds and close to 5,000 pages. It’s strange, majestic and occasionally infuriating, but it makes an unforgettable impact. It’s puzzling then that The Dark Tower movie adaptation is so bland that a mere 24 hours after watching it you may find you struggle to recall any of the details.

The story revolves around 11-year-old Jake Chambers (Tom Taylor) a young man with a powerful “shine” aka psychic power. He dreams and draws pictures of a tower, a sinister Man in Black, Walter (Matthew McConaughey) and a heroic Gunslinger, Roland (Idris Elba). Jake believes his dreams are real, but his mother, Laurie (Katheryn Winnick) fears for his sanity.

Leaving aside its bastardisation of the source material, this isn’t a bad set up for a fantasy movie. The problem is that before your bum has had time to settle into your cinema seat, and certainly before an effective tone can be established, Jake whisks himself off through a portal into Mid-World and meets Roland with minimal audience engagement. This, sadly, is a recurring theme in The Dark Tower. Stuff just seems to happen in a blur of murky CGI and underwritten characters.

Director Nikolaj Arcel (A Royal Affair) directs the film with scant flair and absolutely zero atmosphere, delivering a product that manages to make monsters wearing human skins and concentration camps full of psychic teens dull. Idris Elba and Matthew McConaughey try valiantly to breathe some life into Akiva Goldsman’s shallow, derivative script but are defeated at every turn by wince-inducing dialogue and baffling character decisions.

Ultimately the best thing that can be said about The Dark Tower is that it’s short. At a mere 95 minutes including credits you won’t have to endure it for long, but one can’t help but feel the sting of wasted potential and misused actors. Stephen King fans will be disappointed, obviously, but it’s hard to imagine even the most forgiving general audience finding something to love in this disjointed, inspiration-free enterprise.

The Dark Tower is a bad film, certainly, but even worse it’s a profoundly ordinary one. An utterly generic take on one of fiction’s more unique tales? Thankee-sai, but no thankee-sai.

 
View Post

Hello Goodbye (MIFF)

Festival, Review, This Week 1 Comment

Hazuki (Sayu Kubota) and Aoi (Minori Hagiwara) are Japanese high school students. Despite attending the same classes, they may as well live in different worlds. Hazuki is in the popular crowd of bitchy queen bees, although her position there is wavering after she has a pregnancy scare and her ex-boyfriend hooks up with one of her friends. Aoi is class president, but is widely ignored by everyone – including her parents, whose inattention has become so miserable that she has taken to shop-lifting in the hopes of getting caught.

They collide on the street with an elderly woman (Masako Motai), who appears to be suffering from dementia. After some work – and a meal together – they eventually track down her home and family. Aoi, however, is intrigued by the love letter the old woman was fiercely protecting, and convinces Hazuki that they should return and attempt to get the letter to its intended recipient.

Hello Goodbye is the second feature film from director Takeo Kikuchi. It is not a particularly innovative or arresting film drama. It has a modest storyline to match its brief running time, and is shot and paced in a very traditional and matter-of-fact fashion. Within those narrow confines, Kikuchi absolutely nails the film: the performances are engaging and lifelike, the emotions are warm but never cloying, and the story moves to predictable but surprisingly restrained places. In short: if you are the sort of viewer that enjoys Japanese teen dramas, then this is ‘one of the good ones’.

Minori Hagiwara and Sayu Kubota are both strong and easily identifiable leads. They both have emotional problems to face, but they are problems with which a lot of teenage viewers can likely identify. Even when plot developments appear to indulge in clichés – Hazuki announcing to her ex-boyfriend that she may be pregnant sets off some pretty loud alarm bells – those developments are resolved in very grounded ways.

Masako Motai is charming as Etsuko, the elderly neighbour who brings the two girls together. She delivers an often-times slightly painful performance as a woman whose memories – both long and short term – have scrambled in her head and mostly evaporated. It gives the film an underlying sense of tragedy and regret, particularly when Hazuki and Aoi sees old photographs of Etsuko and her friends as teenagers; notably not too different from the girls themselves. There is a gentle element of social commentary to the film, regarding Japan’s growing aged care crisis and the difficulty of families keeping frail and ailing relatives at home. Kikuchi does not press this element, which is a smart move. It gains much more power by simply being there.

There is a danger than Hello Goodbye will get overlooked in the wash of Japan’s seemingly endless train of superficially similar teen melodramas. That would be a deep shame, since it does such a quiet, elegant job. It feels genuinely insightful within a well-worn framework.

 
View Post

Ancien and the Magic Tablet (MIFF)

Festival, Review, This Week Leave a Comment

Kokone (Mitsuki Takahata) is a teenager living two lives. When she is awake, she is a Japanese schoolgirl on the run after her father was arrested and a mysterious tablet computer was shoved into her hands. When she sleeps she is Ancien, a captive magician princess in a dystopian steampunk-themed kingdom. As her waking adventure unfolds, the events in her sleep begin to take on an unexpected significance.

Ancien and the Magic Tablet is an anime feature riding on an awful lot of expectations through sheer pedigree alone. The film marks the feature debut of noted anime director Kenji Kamiyama, whose television series Ghost in the Shell: Stand Alone Complex and Eden in the East have made him one of the most acclaimed and feted anime directors working today. To a large extent Ancien delivers exactly what his fans are likely expecting: a well-developed world (in this case two of them in parallel) loaded with social comment, and a strong protagonist whose mission weaves deftly through it.

Kamiyama appears to have his eye on automation and the dehumanising effect on technology. Ancien lives in a fantasy kingdom that manufactures 1950s-style automobiles on a 24-hour-a-day basis, leading to gridlocked streets, pollution and a sort of loose Orwell-esque oppressive government. In the waking world Kokone’s path draws her to a large car manufacturer and its plans to debut self-driving cars at the 2020 Tokyo Olympics opening ceremony. Through this car motif the two worlds get immediately tied together, although it is a little questionable over how effectively Kamiyama ties the knot.

Technically the film is gorgeous, combining CGI and hand-drawn elements very subtly to create some outstanding and immense vistas. The character and technology design is inventive and, in the case of the steampunk dream world, very charming. Kokone’s ‘real’ world is similarly well crafted and presented, although in this case Kamiyama and his crew develop a very evocative and authentic depiction of Okayama in Japan’s south. There seems to be a tendency in contemporary anime to showcase regional Japan in rather attractive ways. I suspect there may be an element of actual tourism funding involved; after all, every anime has to get its funding from somewhere.

The only two key drawbacks of the film are its length and its binary set-up. At almost two hours in length, Ancien does ultimately outstay its welcome a little. A bigger problem is the manner in which the two parallel narratives intersect. It is difficult to dwell on it too closely without beginning to reveal a few too many plot threads, but suffice to say the film ultimately felt a much messier and undisciplined affair than the opening set-up had suggested. Anime fans – particularly followers of Kamiyama – will be entertained, as well as any lovers of Japanese-style animation. This is not a film to break beyond that crowd, however; it is a solid mid-range animated feature, and should have no difficulty finding itself a comfortable niche in that regard.

 
View Post

Logan Lucky

Review, Theatrical, This Week Leave a Comment

What if Steven Soderbergh directed The Dukes of Hazzard? That thought exercise doesn’t map precisely onto the brisk, brash crime caper that is Logan Lucky, but it should give you a good idea of the tone of the thing, which sees the eponymous down-on-their-luck Logan siblings plotting to rob the home of NASCAR, North Carolina’s Charlotte Motor Speedway, during the biggest race of the year, the Coca-Cola 600.

So, it’s a heist movie, something Soderbergh knows a thing or two about, having called the shots on Ocean’s 11 through 13, not to mention the classic Elmore Leonard adaptation, Out of Sight. What sets it apart from his previous endeavours in the field are two things: the setting and the characters. For one thing, this is a flyover state piece of pulp fiction, set in the deep red states of backwoods America, not the coastal metropoles we’re used to seeing on the big screen. For another, our cast are, for the most part, not professional criminals, but down on their luck working class heroes who wouldn’t need a big score if there was any such thing as a steady job in modern America.

Our mastermind is former miner Jimmy Logan (Channing Tatum), his football career killed by a bad knee, who needs the cash to keep seeing his daughter, who’s in the custody of his estranged wife (Katie Holmes). His brother, Clyde (Adam Driver), tends bar with his one good arm, having lost the left in Iraq. Sister Melly (Riley Keough), works in a downmarket beauty salon. They’re all underachievers, labouring under what Clyde thinks is a family curse – they’re all, as the title says, “Logan lucky”.

Bringing much needed criminal expertise to the exercise is Joe Bang, a safe cracker and explosives expert played by a peroxide-haired, tattooed Daniel Craig, clearly having a blast being free of the 007 yoke and oozing dangerous sexuality and down-home charm. Unfortunately, Bang is himself banged up at the time of the planned robbery, but that’s not much of an obstacle for the Logans, who are considerably more canny than anyone expects them to be.

What proceeds is a nimble, footloose sting on what is, as far as the world of the film is concerned, the beating heart of America – the home of NASCAR. It’s here that Soderbergh tips his hand a bit, briefly but unmistakably demonstrating a deep distrust of this element of American culture, with its flag-waving patriotism and militarism, its roaring engines and roaring crowds, its conspicuous consumption and crass commercialism. It’s a case of “hate the sin but love the sinner”, though, as Logan Lucky has ample affection for its cast of hangdog heroes. Imagine a Coen Brothers movie that actually liked its characters – to be fair, there have been a few – and you’re on the right track.

Ultimately, it’s all about the little people sticking it to the Man, but the film is smart enough to know that the Man is often clothed in the things we think we love: NASCAR, energy drinks, fried chicken, Jesus and Coca-Cola. That Soderbergh manages to revel in the spectacle of it all while giving us something to chew on is quite a feat. Those deeper themes never overwhelm the action, though; you’ll find no pontificating on the American condition here. Still, for a fast and funny crime flick, Logan Lucky has plenty of grunt under the hood.

 
View Post

Terminator 2: Judgement Day 3D

Featured, Review, Theatrical, This Week Leave a Comment

In 1991 director James Cameron unleashed Terminator 2: Judgement Day on an unsuspecting world. If you weren’t alive – or just too young to be aware of films at the time – you should know the effect on cinema was seismic and indelible. T2 redefined what action movies were capable of, set a new standard for storytelling in genre cinema and showcased a director (Cameron) and actors (Arnold Schwarzenegger and Linda Hamilton) at the height of their powers.

Cut to 2017 and cue the limited release of Terminator 2 in 3D. While you may question the need for the re-release there’s no doubt time has been extraordinarily kind to the movie. Time and James Cameron remastering the film for a crisp 4K print, that is.

The plot may not have the dark poetry of the original The Terminator (1984), but the story of young John Connor (Edward Furlong), his damaged but fearless mother, Sarah (Linda Hamilton) and reprogrammed, protector T-800 aka “Uncle Bob” (Arnold Schwarzenegger) remains engaging and surprisingly layered. The screenplay contains not one single wasted beat – which is impressive for a movie that clocks in at a hefty 137 minutes – and the action is of a quality that’s damn near timeless. In fact the only jarring moments that occur are with the use of then-groundbreaking CGI, which looks like a low res screensaver now, and “cool” 90s slang, which was always a bit rubbish to be honest.

The one dud note in the whole enterprise is the 3D, which isn’t bad per se, but doesn’t add much to the proceedings – except in the future war opening and Sarah Connor’s still-harrowing nuclear strike dream. Still, if 3D is the price that needs to be paid to get a stone cold classic like T2 back in the cinema, it seems a small one.

Terminator 2: Judgement Day was a great film when it was released 26 years ago and remains a great film today. If you’ve never seen it on the big screen, or want to experience it properly again, head to the cinema in the week starting August 24. Before Skynet becomes sentient.