Grim, grey palettes and an ensemble separated from one another with little reason, what a quick and horrid change of pace Terminator Salvation is compared to the previous instalment just six years before it. Grip the fun of the third instalment like it were the final days because that is the last film in the series to inspire any level of slight enjoyment. Even then, the confusion founded in Terminator 3: Rise of the Machines was on thin ice to begin with, the rest of the series is the scurrying fear of trying to break free from the depths. No such luck for Christian Bale and Sam Worthington, who don’t quite get to grips with the worldbuilding around them, or lack thereof. Even with simplicity and the fears of a new Terminator model, they struggle to figure out their place in an ever-changing landscape of miserable characters and poor twists.
We are witnessing pointless history in action. With the relative influence the John Wick series has had on the action genre so far, it was an inevitability that films in a similar vein would appear to have a punt at the “mysterious lead takes on more than they can chew” showcase. Atomic Blonde tried it, bathing in the Cold War antics and brilliant soundtrack such tense times provided, and now, it is the turn of Bob Odenkirk with Nobody. From Hardcore Henry director Ilya Naishuller is an action piece that ditches the stomach-churning, first-person antics and instead presents a neutered, clear-cut assignment that sees a suburban dad retaliate against the burglars that infiltrate his home and subsequently his way of life.