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Directed by | |||
| James Cameron | |||
Writing credits(WGA) | ||
| James Cameron | (written by) & | |
| William Wisher Jr. | (written by) (as William Wisher) | |
Produced by | |||
| Stephanie Austin | .... | co-producer | |
| James Cameron | .... | producer | |
| Gale Anne Hurd | .... | executive producer | |
| Mario Kassar | .... | executive producer | |
| B.J. Rack | .... | co-producer | |
Original Music by | |||
| Brad Fiedel | |||
Cinematography by | |||
| Adam Greenberg | (director of photography) | ||
Film Editing by | |||
| Conrad Buff IV | (as Conrad Buff) | ||
| Dody Dorn | (special edition) | ||
| Mark Goldblatt | |||
| Richard A. Harris | |||
Casting by | |||
| Mali Finn | |||
Production Design by | |||
| Joseph C. Nemec III | (as Joseph Nemec III) | ||
Art Direction by | |||
| Joseph P. Lucky | |||
Set Decoration by | |||
| John M. Dwyer | |||
Costume Design by | |||
| Marlene Stewart | |||
Makeup Department | |||
| Jeff Dawn | .... | key makeup department | |
| Ed French | .... | makeup artist | |
| Steve LaPorte | .... | makeup artist | |
| Robert L. Stevenson | .... | hairstylist: (as Robert L. Stevensen) | |
| Peter Tothpal | .... | key hair stylist | |
| Stan Winston | .... | special makeup producer | |
Production Management | |||
| Pamela Easley | .... | post-production supervisor | |
| Dirk Petersmann | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Randall Badger | .... | first assistant director: second unit | |
| Dustin Bernard | .... | second assistant director | |
| Xochi Blymyer | .... | second second assistant director | |
| Kelly Cantley | .... | dga trainee | |
| Frank Davis | .... | key second assistant director | |
| Gary Davis | .... | second unit director | |
| David Fudge | .... | second assistant director: second unit | |
| Grant Gilmore | .... | second assistant director: second unit | |
| J. Michael Haynie | .... | first assistant director | |
| James Lansbury | .... | second assistant director | |
| Scott Laughlin | .... | key second assistant director | |
| Terry Miller | .... | first assistant director | |
| George Parra | .... | first assistant director: second unit | |
| Tony Perez | .... | second assistant director | |
| Barry K. Thomas | .... | first assistant director: second unit (as Barry Thomas) | |
Art Department | |||
| Craig Baron | .... | set dresser | |
| Charles William Breen | .... | assistant art director (as Charles W. Breen) | |
| Steve Burg | .... | conceptual artist (as Stephen Burg) | |
| Steve Callas | .... | construction coordinator | |
| Mike Cameron | .... | functional props | |
| Vince Catlin | .... | functional props | |
| Carole Lee Cole | .... | set designer (as Carole L. Cole) | |
| Gary Diamond | .... | assistant art director | |
| William K. Dolan | .... | set dresser (as William Dolan) | |
| Bill 'Kauhane' Hoyt | .... | stand-by painter (as Bill K. Hoyt) | |
| George Jenson | .... | illustrator (as George Jensen) | |
| Duncan Kennedy | .... | art department assistant | |
| Walter P. Martishius | .... | set designer (as Walter Martishius) | |
| R. Patrick McGee | .... | on-set dresser | |
| Carla S. Nemec | .... | art department coordinator | |
| Phillip Norwood | .... | storyboard artist | |
| Joe Pizzorusso | .... | set dresser | |
| Charles Stewart | .... | property master | |
| Barton M. Susman | .... | leadman | |
| Linda Waxman | .... | assistant property master | |
| Mike Wells | .... | general foreman | |
| Jimmy Flores | .... | propmaker gangboss (uncredited) | |
| Peter Flynn | .... | propmaker (uncredited) | |
| Martin J. Gibbons | .... | welder (uncredited) | |
| Mark A. Mancinelli | .... | hod plasterer (uncredited) | |
| Iain McCaig | .... | concept/storyboard artist (uncredited) | |
| Robert Misetich | .... | set paint foreman (uncredited) | |
| David Russell | .... | conceptual illustrator (uncredited) | |
| Robert Van Dyke | .... | propmaker foreman (uncredited) | |
| Christopher Woodworth | .... | paint supervisor (uncredited) | |
Visual Effects by | |||
| Diana Ace | .... | computer graphics technical assistant: ILM | |
| Tony Alderson | .... | fire shots: Fantasy II Film Effects | |
| Bret Alexander | .... | model builder: 4-Ward Productions | |
| Scott E. Anderson | .... | computer graphics shot supervisor: ILM | |
| Ed Angell | .... | tesla coil: The Artificial Lighting Company | |
| Sean Applegate | .... | head animator: Fantasy II Film Effects | |
| Gordon Baker | .... | digital artist: ILM | |
| Randall K. Bean | .... | scanning operator: ILM | |
| James Belkin | .... | director of photography: 4-Ward Productions | |
| Jennifer C. Bell | .... | effects coordinator: 4-Ward Productions (as Jennifer Bell) | |
| Tom Bertino | .... | roto supervisor: ILM | |
| John Andrew Berton Jr. | .... | computer graphics animator: ILM | |
| Scott Beverly | .... | production assistant: Fantasy II Film Effects | |
| Ken Beyer | .... | computer graphics systems support: ILM | |
| Beth Block | .... | production coordinator: Fantasy II Film Effects (as Beth Bloc) | |
| Barbara Brennan | .... | digital artist: ILM | |
| Stephen Brien | .... | miniature set and rig supervisor: 4-Ward Productions | |
| Betzy Bromberg | .... | optical supervisor: Fantasy II Film Effects | |
| Kevin Brown | .... | stage assistant: 4-Ward Productions | |
| John Bruno | .... | visual effects designer | |
| Geoff Burdick | .... | visual effects assistant (as Geoffrey Burdick) | |
| Geoff Campbell | .... | computer graphics animator: ILM | |
| Dan Carter | .... | model builder: 4-Ward Productions (as Daniel Carter) | |
| Anthony Chaney | .... | model builder: 4-Ward Productions | |
| Doug Chiang | .... | visual effects art director: ILM | |
| Terry Chostner | .... | effects photography: ILM | |
| Richard L. Cohen | .... | computer graphics animator: ILM | |
| Steve Cohen | .... | production assistant: Fantasy II Film Effects | |
| Susan Adele Colletta | .... | digital coordinator: ILM | |
| Tim Conrad | .... | model builder: 4-Ward Productions | |
| James Cook | .... | production assistant: Fantasy II Film Effects | |
| Bryan Cooke | .... | optical line-up: Fantasy II Film Effects | |
| Michael Cooper | .... | scanning operator: ILM | |
| Robert Costa | .... | optical effects supervisor: 4-Ward Productions | |
| Gail Currey | .... | visual effects coordinator: ILM | |
| Jim Davidson | .... | model builder: 4-Ward Productions | |
| Mark A.Z. Dippé | .... | assistant visual effects supervisor: ILM | |
| George D. Dodge | .... | director of photography: 4-Ward Productions | |
| Miller Drake | .... | visual effects editor | |
| John Eaves | .... | illustrator: Fantasy II Film Effects | |
| Elaine Edford | .... | special visual effects sequences: 4-Ward Productions | |
| David Emerson | .... | optical camera: Fantasy II Film Effects (as Dave Emerson) | |
| Eric Enderton | .... | computer graphics software developer: ILM | |
| Rachel Falk | .... | computer graphics technical assistant: ILM | |
| Stefen Fangmeier | .... | computer graphics shot supervisor: ILM (as Stefen M. Fangmeier) | |
| Don Fergus | .... | optical camera: Fantasy II Film Effects | |
| Anthony Forzaglia Jr. | .... | stage assistant: 4-Ward Productions | |
| Carl N. Frederick | .... | computer graphics software developer: ILM (as Carl Nai Frederick) | |
| Jonathan French | .... | computer graphics animator: ILM | |
| Dan Frye | .... | sculptor: Make Up Effects Unlimited | |
| Jorge Fuentes | .... | stage manager: 4-Ward Productions | |
| Jack Gallagher | .... | plate photography coordinator: ILM | |
| George Gambetta | .... | scanning operator: ILM | |
| Paul Gentry | .... | camera operator: Fantasy II Film Effects | |
| Pete Gerard | .... | model maker: Make Up Effects Unlimited | |
| Michael Gleason | .... | visual effects editor: ILM | |
| Joanne Hafner | .... | rotoscoper: ILM | |
| James Hagedorn | .... | digital artist: ILM (as Jim Hagedorn) | |
| Janet Healy | .... | visual effects producer: ILM | |
| Philip Heron | .... | stage technician: ILM (as Phil Heron) | |
| Robert Hill | .... | effects photography: ILM (as Bob Hill) | |
| Christian Hogue | .... | computer graphics animator: ILM | |
| Sandy Houston | .... | rotoscoper: ILM | |
| Lincoln Hu | .... | computer graphics shot supervisor: ILM | |
| Leslie Huntley | .... | visual effects producer: Fantasy II Film Effects | |
| George H. Joblove | .... | computer graphics shot supervisor: ILM | |
| Ed Jones | .... | executive in charge of post production: ILM | |
| Kirby Jones | .... | production assistant: Fantasy II Film Effects | |
| Michael Joyce | .... | model and shop supervisor: Fantasy II Film Effects | |
| Emmet Kane | .... | effects lead man: 4-Ward Productions | |
| Michael Karp | .... | camera operator: Fantasy II Film Effects | |
| Douglas S. Kay | .... | computer graphics department manager: ILM (as Douglas Scott Kay) | |
| Pam Kaye | .... | production accountant: ILM (as Pamela Kaye) | |
| Elizabeth Maxwell Keith | .... | computer graphics animator: ILM | |
| Richard Kilroy | .... | matte painter: 4-Ward Productions | |
| Pete Kleinow | .... | go animation: Fantasy II Film Effects (as Peter Kleinow) | |
| Jay Lenci | .... | computer graphics systems support: ILM | |
| Jeffrey B. Light | .... | scanning software: ILM (as Jeff Light) | |
| Van Ling | .... | creative supervisor/visual effects coordinator | |
| Greg Maloney | .... | digital transfer operator: ILM | |
| David Zen Mansley | .... | model builder: 4-Ward Productions | |
| Jim Martin | .... | optical engineer: Fantasy II Film Effects | |
| Jim May | .... | visual effects assistant editor: ILM | |
| Patrick McArdle | .... | plate photography: ILM | |
| Brian McFadden | .... | model builder: 4-Ward Productions | |
| Roberto McGrath | .... | negative cutter: ILM | |
| Bob Micheletti | .... | optical engineer: Fantasy II Film Effects | |
| Carl Miller | .... | plate photography: ILM | |
| W. Peter Miller | .... | editor: 4-Ward Productions | |
| Jim Mitchell | .... | computer graphics technical assistant: ILM (as James D. Mitchell) | |
| Bart Mixon | .... | sculptor: Make Up Effects Unlimited | |
| Bret Mixon | .... | roto supervisor: Fantasy II Film Effects | |
| Tony Moffett | .... | production assistant: Fantasy II Film Effects | |
| Terry Molatore | .... | rotoscoper: ILM | |
| Jack Mongovan | .... | rotoscoper: ILM | |
| Doug Moore | .... | model builder: 4-Ward Productions | |
| Sergio Moreno | .... | stage assistant: 4-Ward Productions | |
| Tim Morgan | .... | stage technician: ILM | |
| Jim Morris | .... | executive in charge of production: ILM | |
| Richard Mula | .... | visual effects lighting consultant | |
| Mary Mullen | .... | ink and paint supervisor: Fantasy II Film Effects | |
| Dennis Muren | .... | visual effects supervisor: ILM | |
| Michael J. Natkin | .... | computer graphics software developer: ILM | |
| George S. Neil | .... | gaffer: 4-Ward Productions (as George Neil) | |
| John Nelson | .... | computer graphics animator: ILM | |
| Michael Novotny | .... | production designer: 4-Ward Productions | |
| Joe Pasquale | .... | computer graphics animator: ILM (as Joseph M. Pasquale) | |
| Steve Petruzates | .... | model maker: Fantasy II Film Effects | |
| Joshua Pines | .... | scanning supervisor: ILM | |
| Paula Pirok | .... | production assistant: 4-Ward Productions | |
| Dan Platt | .... | sculptor: Make Up Effects Unlimited | |
| Jeryd Pojawa | .... | visual consultant: Fantasy II Film Effects (as Jerry Pojawa) | |
| Angus Poon | .... | computer graphics software developer: ILM | |
| Chuck Ray | .... | stage technician: ILM | |
| Gary Rhodaback | .... | model maker: Fantasy II Film Effects | |
| Jay Riddle | .... | computer graphics shot supervisor: ILM | |
| Rick Rische | .... | matte painter: 4-Ward Productions | |
| Stuart Robertson | .... | digital supervisor: ILM | |
| Alice Rosen | .... | computer graphics technical assistant: ILM | |
| Stephen Rosenbaum | .... | computer graphics animator: ILM | |
| Scott Ross | .... | vice president and general manager: ILM | |
| Richard Ruskuski | .... | miniature set and rig supervisor: 4-Ward Productions (as Ricc Ruskuski) | |
| Alison Savitch | .... | visual effects production supervisor | |
| John Schlag | .... | computer graphics software developer: ILM (as John F. Schlag) | |
| Andrew Schmidt | .... | computer graphics animator: ILM | |
| Leslie Schor | .... | production assistant: ILM | |
| Dennis Schultz | .... | model maker: Fantasy II Film Effects | |
| Alex Seiden | .... | computer graphics animator: ILM | |
| Annabella Serra | .... | computer graphics animator: ILM | |
| Mark A. Shelton | .... | gaffer: 4-Ward Productions (as Mark Shelton) | |
| Mary Shelton | .... | best boy: 4-Ward Productions | |
| Marty Shindler | .... | executive in charge of finance: ILM | |
| Dwight Shook | .... | model maker: Fantasy II Film Effects | |
| Monty Shook | .... | model maker: Fantasy II Film Effects | |
| Chuck Shuman | .... | plate photography: ILM (as Chuck Schumann) | |
| Dennis Skotak | .... | supervising director of photography: 4-Ward Productions | |
| Robert Skotak | .... | special visual effects sequences: 4-Ward Productions | |
| Robert Skotak | .... | visual effects supervisor: 4-Ward Productions | |
| Douglas Smythe | .... | computer graphics shot supervisor: ILM (as Doug Smythe) | |
| Anthony Stabley | .... | model builder: 4-Ward Productions | |
| Joel Steiner | .... | miniature set operation: 4-Ward Productions | |
| Samantha Stevens | .... | stage assistant: 4-Ward Productions | |
| William Stromberg | .... | model builder: 4-Ward Productions | |
| Ginger Theisen | .... | computer graphics coordinator: ILM | |
| Joseph Thompson | .... | model builder: 4-Ward Productions | |
| Tien Truong | .... | computer graphics software developer: ILM | |
| David Tucker | .... | optical camera: Fantasy II Film Effects | |
| Lisa Vaughn | .... | scanning coordinator: ILM | |
| Bruce Vecchitto | .... | optical photography supervisor: ILM | |
| Joe Viskocil | .... | pyrotechnic supervisor: Fantasy II Film Effects (as Joseph Viskocil) | |
| Gene Warren Jr. | .... | visual effects supervisor: Fantasy II Film Effects | |
| Christopher Warren | .... | camera operator: Fantasy II Film Effects | |
| Judith Weaver | .... | computer graphics coordinator: ILM | |
| Julie J. Webb | .... | assistant visual effects editor | |
| Steve 'Spaz' Williams | .... | computer graphics animation supervisor: ILM (as Steve Williams) | |
| Tom Williams | .... | computer graphics shot supervisor: ILM (as Thomas A. Williams) | |
| Lou Zutavern | .... | model builder: 4-Ward Productions (as Louis Zutavern) | |
| Larry Arpin | .... | additional visual effects (uncredited) | |
| Craig Barron | .... | visual effects supervisor: Matte World Digital (uncredited) | |
| Diana Dru Botsford | .... | visual effects pre-production coordinator: 4-Ward Productions (uncredited)) | |
| Nelson Broskey | .... | production assistant: Fantasy II Film Effects (uncredited) | |
| Kris Brown | .... | visual effects engineer (uncredited) | |
| Mark Burnett | .... | visual effects video assistant (uncredited) | |
| Michael Cooper | .... | optical line-up (uncredited) | |
| Krystyna Demkowicz | .... | executive in charge of production: Matte World (uncredited) | |
| Christopher Duddy | .... | visual effects (uncredited) | |
| Wade Howie | .... | digital effects artist (uncredited) | |
| Dorn Merrill Kennison | .... | model maker (uncredited) | |
| Al Magliochetti | .... | visual effects (uncredited) | |
| Zeke Morales | .... | production assistant: Video Image (uncredited) | |
| Shawn Neely | .... | software development (uncredited) | |
| Daniel Alan Ross | .... | CGI technical assistant: ILM (uncredited) | |
| Tim Scannell | .... | rotoscope artist / camera operator (uncredited) | |
| Jeff Sturgill | .... | photosonics camera operator (uncredited) | |
| Donna Tracy | .... | animation and rotoscope (uncredited) | |
| Jeff Varga | .... | visual effects (uncredited) | |
Casting Department | |||
| Abra Edelman | .... | extras casting: San Jose | |
| Emily Schweber | .... | assistant casting associate | |
| Paul Garnica | .... | background casting (uncredited) | |
Costume and Wardrobe Department | |||
| Colin Booth | .... | costumer: second unit (as Collin Booth) | |
| Carol Dobrovolny | .... | specialty costume manufacturing | |
| Greg Hall | .... | set costumer | |
| Bruce R. Hogard | .... | costume supervisor | |
| Dawn Y. Line | .... | set costumer | |
| Pattir Moon | .... | costumer: second unit | |
| Sue Miller | .... | costumer (uncredited) | |
Editorial Department | |||
| Joseph Berger-Davis | .... | post-production assistant | |
| Crystal Dowd | .... | post-production coordinator | |
| Jane Kass | .... | first assistant editor | |
| Kathleen Korth | .... | re-sync editor: Skywalker Sound | |
| Mary Nelson-Duerrstein | .... | negative cutter (as Mary Nelson Duerrstein) | |
| Clay Rawlins | .... | second assistant editor | |
| Caroline Ross | .... | first assistant editor | |
| Arden Rynew | .... | on-line editor (2003 restored version) | |
| Ron South | .... | second assistant editor | |
| Kelly Tartan | .... | second assistant editor | |
| Arthur Tostado | .... | color timer (as Art Tostado) | |
| Clarinda Wong | .... | supervising first assistant editor | |
| Dan Muscarella | .... | color timer (uncredited) | |
Music Department | |||
| Dan Garde | .... | assistant music editor | |
| Allan K. Rosen | .... | supervising music editor | |
| Tim Boyle | .... | score mixer (uncredited) | |
Transportation Department | |||
| Steve Bonner | .... | picture car captain | |
| Gene R. Johnson | .... | transportation coordinator (as Gene Johnson) | |
| Jerry F. Johnson | .... | transportation captain (as Jerry Johnson) | |
| Pete Johnson | .... | transportation captain: second unit | |
| Kenneth Newland | .... | transportation office coordinator | |
| Jack Carpenter | .... | driver: camera car (uncredited) | |
| George Grenier | .... | driver (uncredited) | |
| William Hogue | .... | driver dispatcher (uncredited) | |
| Dennis Junt | .... | transportation (uncredited) | |
Thanks | |||
| Ray Baghshomali | .... | the producers wish to thank: Caltrans | |
| John Bell | .... | the producers wish to thank | |
| Ty Boyce | .... | special thanks | |
| Marc Duprey | .... | the producers wish to thank: Caltrans | |
| Tom Hudson | .... | the producers wish to thank | |
| James Juro | .... | the producers wish to thank | |
| Mike Lanam | .... | the producers wish to thank: Fremont Police Department (as Capt. Mike Lanam) | |
| Chandra Shah | .... | the producers wish to thank: The County of Los Angeles Economic Development Film Office | |
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| Terminator 3: Rise of the Machines | The Terminator | Terminator Salvation | The Professional: Golgo 13 | The Dark Knight |
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Disclaimer: If you are a viewer that mainly prefers arthouse-type movies, then you might as well ignore this review. In addition, if you're not able to take a few sci-fi leaps of faith, ignore this review, as well. We'll both be better off.
This is the finest action movie of all time. And, yet, believe it or not, it's not the action in the film itself that makes this be the case. This is especially odd in a movie with a $100 million budget (in 1991!), with multiple huge explosions, with thousands of bullets fired, and scores of stuntmen used.
This movie is what it is, a perfect 10, because it takes the vision of one of the most imaginative directors on Earth, and realizes them almost perfectly with all the tools that fit the task -- actors, stunts, puppetry, models, and CG. Without the vision, this film would be nothing. Without the tools, this film would be nothing.
But, a little bit of background is due. This is the sequel to the Terminator (1984), whose premise was that a near-indestructible cyborg is sent by evil self-aware machines from the near future to destroy the mother-to-be of the military commander who would lead the humans to a victory over the machines. Oh, and this terminator machine would come from a time of war between men and machines which followed a nuclear exchange that left billions of people dead, first. In Terminator 2, John Connor (the commander-to-be) is about 12 years old, and his mother (Sarah) is feverishly trying to prepare him for his fate, even as she tries to stop the factors that will lead to the nuclear war and the entire terrible future that made all this necessary. The machines now send a superior, more intelligent, shape-shifting cyborg (T1000) into the past, to kill John himself. Meanwhile, future-John reprograms the ex-evil Terminator (T101) from the original film, and sends him into the past to PROTECT John against the T1000.
That's your basic plot. It does involve travel into the past, so it immediately presents a time-travel paradox which can't really be resolved. In order to even try watching this movie, you MUST LOOK PAST THE PARADOX. If you don't, this movie has zero credibility, and is not worth your time.
What happens after the two terminators appear in the past is a wild ride rife with macho action, dark reflection on the nature of man, and a few rays of hope, here and there. Schwarzenegger (the good terminator) and Patrick (the bad one) make for such effective foes that the times they meet on-screen are completely breathtaking (and odd, given that you repeatedly see the relatively slim T1000 through Arnie through a wall or two). Hamilton, as Sarah Connor, is a wonderful character -- tough beyond all belief and completely focussed on preventing the nuclear war and ensuring John's safety, yet clearly a little out of her mind with paranoia and anger; amazingly, you see actual character development (specifically, when John and T101 arrive at Dyson's house to prevent her from doing what she wants to) in her otherwise 2-dimensional character. And Furlong, as John, is not bad himself as the extroverted kid who's confused by the fact that everyone except his mom tell him his entire upbringing was based on a lie. The bit players all do their jobs well, particularly Earl Boen who plays the semi-sadistic mental hospital warden that stands between Sarah Connor and her son (until the T1000 makes a chilling entrance).
With these players set in motion, it's up to the script to deliver the real substance of the movie. (One often sees great performances in mediocre films... here the story transcends the performances -- an impressive feat.) The script delivers. The film is absolutely filled with great, classic moments (I counted TEN all-star ones during my last viewing), and they're evenly spaced through the movie. I mean, who doesn't cheer (at least inside) when Arnold steps out of the biker bar, fully clad in leather when "Bad to the Bone" music starts to blast? The guy absolutely bleeds coolness. And the T1000 absolutely bleeds evil. But, with so many great moments, you'd think the pacing would be a little uneven... not really! The film shifts from place to place with an ease that makes perfect sense, never giving you the time to start being a little nitpicking jerk, always driving forward, but always doing so thoughtfully and with attention to detail.
Of course, this wouldn't be an action movie without some action. There's plenty of it, and it's perfectly done. The CG effects for the shape-shifting T1000 were cutting-edge for the time, and still look great (whoever said differently below is simply incorrect) -- even if they're completely commonplace today. The stunts are completely insane in scale (at one point, a helicopter flies under a highway overpass; at another, a motorcycle jumps from the 2nd floor of a building into a flying chopper). (Probably, only the Matrix and the Lord of the Rings movies compare in terms of the level of stunt insanity.) And the gunplay is delivered in perfect Cameron-Schwarzenegger style (as opposed to the slo-mo John Woo-style) -- you'll see lots of heavy automatic and explosive weapons, and you'll see them used well. The film is violent, and somewhat bloody, but ALL of the mean-spirited violence is dealt by the evil characters, not the ones you root for (Quentin Tarantino fans: sorry). And then the truly amazing scenes that bypass acting are shocking and memorable -- just wait until the nuclear detonation sequence.
I'm not sure what else you would want in a movie. Probably moral content, and the movie has a very clear pro-human, anti-war message. The message is a bit stale, and the delivery IS, at times, a little heavy-handed (and some moments with the T101 seem just a bit unrealistic, towards the end), but the movie has heart, and that you cannot deny. Plus, it simply rocks. 10/10