Similar to Fight Club (the DVD that saved Sony and Ruined Sega): https://m.media-amazon.com/images/I/516ZF6YQKAL._SY445_.jpg

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44619319)

I guess you could argue that Terminator is essentially a monster movie too, but the action is definitely more creative and varied

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44619556)

Predator is a great movie, but having lots of action or Arnold as the star doesn’t automatically make something an “action film.”

It’s a horror/monster movie, like Alien or Jaws.

T2 is the apotheosis of Action Film. Not a monster or horror movie by any stretch, because the villain/killer is not just killing indiscriminately or for sport. It’s carrying out a mission as part of a war.

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44620066)

https://www.youtube.com/watch?v=1CM9SatIUIQ

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44635862)

His foster parents are total white trash.

His mom is a nut job survivalist

He pals around with Budnick on a dirtbike.

Humanity's savior is a redneck from L.A.

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44619393)

Date: December 1st, 2020 2:16 AM

Author: Beady-eyed mauve dragon

been listening to super early rock singles, like the beginnings of it all in the 50s, and they are all satanically lascivious..

and i was just thinking to myself today that the new modern art is terminator, terminator 2, reservoir dogs, and pulp fiction. our mozart and beethoven are james cameron and quentin tarantino, respectively.

these are the works of art that cubists, surrealists, postmodern novelists like joyce, pynchon, dfw tried to achieve...they were all just working with a spiritually dead medium.

god is now in the movies, and the devil is in the music.

and notice how the theme of hell on earth and godlessness is treated in terminator and pulp fiction. if i have to spell it out i will, fuck it...

terminator is about the apocalypse of mankind because we are a godless atheistic technology obsessed civilization that is clearly on the border with its destruction from within. this spiritual disconnect with god cant go on much longer. thats why the LA of terminator is a hell, if you think about. its always ominous and hell is just around every corner, at all times. its a feeling thats constantly dominating the movie. there is something just off about every street, every person -- like as if it was all subsumed in a liquid of despair that doesnt even know its own face, on the surface its all the 80s modernity apex society writ large, but merely on the pentomime level, while the soul of everything reeks of decay and death -- the terminator blends right in! (the scene of him fixing his arm in the motel room is probably as dark artistically as anything dostoyevski did [for his time] in notes from underground, imo -- remember the fat slob asking if everything is alright? remember the slob that was operating the garbage truck? the slobs are everywhere -- the police detectives and the psychiatrist..the society is dead, its a germ thats stretched across space and time that is fat and high on its own ego and only mostly partially concealed sin, and and concealed only preformatively, as some kind of residue of a past obligation thats well forgotten by now, as all accept the degeneracy and the sin, in a mutual contract, just a wink and a nod away -- sarcasm rules the day in hell) there are only minor instances of respite into 'normalcy', and they are charactirized by the degeneracy of our society, like the waitressing job and the snotty kid disrespecting her, or the young ppl always listening to some faggy music at all times and just being overtly sexual. and as an aside, notice how society is totally clueless and helpless when the avenging dark angel of the forces that we have unleashed comes to collect? or how totally unable to stare the metallic soulless avenger in the face and realize what is meeting us and why? just oblivious to the end. how utterly alone she feels when she realizes her world is of no help to her, they are all just asleep at the wheel, just ghost of souls that once had a meaning to share in life, a belief in life's importance and transcendence beyond the garbage heap and the dead earth.

its all symbolic and metaphorical, too, because thats what great art is. its not that we will build arnold machines that will came back from the future to shoot everyone up. if you have learned to read poetry like dante, why stop now? because its hidden? ah yes, well, that is part of the charm and the reason why terminator is high art at this point. its meta, its hidden its accusation of godlessness and condemnation of societies decay, but RIGHT under its nose, but oh so well, i dont think many see it now. somehow all these movie buff snobs that put andrei rublev and space oddysey and ordet and lavventura on their top spots never fail to mention at least one of the terminator movies and pulp fiction. they can FEEL it. and those two are superior to the kubrick's outstanding attempts at profoundly marrying modernity and high art, without the public ever protesting once. tarkovsky never hid anything, which is why he is the lesser of them all, but he went for the loss of god before kubrick woke up to it all. andrei rublov was done in 66 or so, i believe. and the coen brotehrs arent hiding shit, they are trying to create a postmodern work of art thru the medium where god is to be found now (or his absence to be heard) by utilizing past art, and its a bit too obvious. they arent as clever as they think they are, its the dummies of tarantino and james cameron who outdid them all -- and ill get to pulp fiction, its the beethoven, it hides all its high art the best, and consequently, creates the greatest art of the modern time.

verhooven wears his aspirations on his sleeve as well -- that aspiration to be the james joyce and the picasso of our time, thru film, of course. neither him nor the coens achieve the highest position, or pierce the final level of the postmodern, where the work of high art masquerades as the B-movie for morons, but happens to be so fucking awesome and entertaining, that ppl that put tokyo story and solaris on their lists never fail to put terminator and pulp as well. i doubt they even reflect on it. these movies are just so cool! thats what it is...

its probably not that their authors are the geniuses of the godless age that is on the verge of psychic apocalypse and expressing it in the art of our time, no that cant be it...

alright, lets get to the big khahuna, pulp fiction:

the meta movie, that actually works so well as a disjointed narrative that its fucking brilliant to the core. and tarantino hasnt tried to create artistic masterworks of TRUE art in vein of dante or kafka since that movie, hes just been having fun since. his work is done, and so is james cameron, kind of but kinda different with titanic being an ode to the soul (uve seen the ending right? nothing religious about that... hmmm, or no symbolism in picking a monstrosity of modernity that turned out to be the tomb of its masters, no thematic connection to terminator,,, not at all, just random love story on a boat with cool cgi), and aliens is kind of a side project where he just made the coolest fucking movie ever that was stripped completely of all the artistry of the first movie, which was a masterpiece of art in its own right for its time (our age has been accelerating fast, but we are now in the eye of the storm i believe, there is no more acceleration if you havent noticed..the calm before the winged dark horses appear in the sky)..

so with enough digression, and without further adieu, lets get to pulp fiction..the thing is, its just so daunting for me to elucidate and illuminate what is it that is so profoundly within the movie that connects it to the greatest concerns of the spirit of mankind. but ill try to just give broad strokes...

did you notice how god is present in the movie as a recurring joke? not literally a recurring joke, but i dont know how to put it well. but you know what im getting at, yes? but its not a joke for one of our protagonists, turns out... -- just another piece in the genius puzzle, the way it all connects and bolts up to the sky of high meaning makes my head spin, if im being honest. notice how the music is all oldies that are put in context of a hellish existence in the present time? the use of music is not just cool or happens to be cool, its philosophically motivated, believe me, and thats why it works. we are just not even awake to the nature of the music we keep us as company in this hell called reality. its part of the joke of the movie, it treats it all as a joke...everything is a joke. i think tarantino's attitude is that fuck it all, if the hell is here, let the apocalypse wash away this saga. god will still be around, and hes probably letting it all happen because our age is truly fallen as far as it can go. we dont even see it, or care to.

notice how the soundtrack to both terminator and pulp is very unique in each movie? terminator is all this oppressive metallic hell, and pulp fiction is even more sinister with its happy rock music from its early 50s and 60s days, juxtaposing scenes of gimps in basements and sodomy just taking place in the middle of daytime LA like its just another goddless afternoon. a robbery without any remorse just abruptly shafting reality's fabric like a demonic presence thats unwelcome in the sunlight of god's LA -- you didnt get a sense of the couple as a demonic chimera, at the very earliest they appear? i think you did. you felt it in your BONES. thats how this movie works on ppl. its all under the surface.

thats what pulp fiction is in fact, a syncopation of demonic spirits that are traversing a godless afternoon, bravely walking through god's world, in defiance, or maybe in something more than defiance, in forgetfulness of god's wrath and true power to smite the ungoldy, sprawling the hellscape, or just in oblivion to his presence in all things. to me thats pulp fiction, but SO hidden you woldnt even dream of this. thats why its so much more genius and hard hitting to me than terminator. its so much more sinister.

and the date of jules and his bosses wife? at night.. the demons break loose of their evil ways and pretend to be god's children under cover of night, dancing to the music, eating the burgers, going through the motions of our decayed civilization, partaking of the ceremonial dance of the absurd, but standing out like a sore thumb, because they are the wolves amidst the sheep...maybe...but they are like the vampires who came out to play, in the obliviousness of the crowd. their dance on stage was like a vampiric ritual that is maybe the worst offence against god committed in this film, something about their blase attitude about everything is truly most felt here as the apex of godlessness, no crime committed, but something feels in its lowest in their union, the dance of the macabre -- smiting god right back, without a care in the world, as if to say, god HAS been defeated, he is truly gone to the bottom of the well, and on his corpse these two fine representatives of the city of LA will dance to the tune of the negro orgy porgy symphony wearing a mask of fun, sentimentality, and hope.

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44619494)

Terminator is gritty as fuck. It's an exciting film. T2 is the platonic ideal of an action movie. You can see the beats and how every great action movie of the past 30 years copied it.

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44619934)

just as a sundae is easily better than cotton candy

just as a ferrari is easily better than a bicycle

just as a mature 35 year old woman is easily better than a nubile 19 year old girl

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44620491)

T2

Aliens

Die Hard

Mad Max

The Rock

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44620371)

Aliens

Die Hard

The Road Warrior

Predator

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44621197)

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44636469)

Even getting him to fall into the molten pit at the end might not have been possible if he hadn't already been damaged by the frozen nitrogen. Mind you, Arnold seemed to think that blowing the frozen T1000 apart would be the end of it, so he wasn't extremely knowledgeable as you suggest

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44675791)

It's a shame that the later iterations were so bad, culminating with Dark Fate, which completely negated the storylines for Terminator and Terminator 2. Dark Fate did this almost solely so they could shoe-horn females and minorities into the roles of humanity's saviors, and I couldn't help but wonder what it was about Linda Hamilton's portrayal of Sarah Connor that the producers felt was weak. Sarah Connor is an incredibly strong character.

Anyway, the movie still holds up today and remains an uncurved 180.

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44668239)

very good choices in how it was used by cameron

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44669030)

So, there's no reason to say that DF represents JC's real fate. It's just one timeline. You could say evey Terminator sequel is just a "What if?" scenario

(http://www.autoadmit.com/thread.php?thread_id=5122895&forum_id=2...#44675048)