Terminator Salvation – Science Fiction Film Review

Terminator Salvation (2009)I think films (like Terminator Salvation) strive to achieve in two areas: On a very visceral level, bringing you a lot of special effects explosiveness and fun, because that is what you want from a Terminator movie, but also, it will have more resonance if you have interesting themes.
We have a theme about the burden of destiny in the John Connor (Christian Bale) character and we have a theme about what makes us human in the Marcus Wright (Sam Worthington) character. So I think at the end of the day the movie is largely about becoming. About John Connor becoming the leader of the resistance. About what is it that makes you human, which is the whole point of the Marcus Wright character: Where does humanity lie?
I think those themes goes a long way in the movie and during the journey we also blow-up a few things.

—McG, director of Terminator Salvation

Not having seen any of director McG’s previous films (or those of co-star Sam Worthington), I must say I was quite surprised at how well TERMINATOR SALVATION turned out. As McG himself noted at a pre-release press conference, “There’s nothing about the body of my career that would suggest I’m the right guy to make a TERMINATOR movie.”
Which is exactly what I thought, but the film itself puts all those reservations to rest. As McG notes, he has managed to weld some very memorable action sequences, of quite searing intensity, onto a framework that carries themes with a certain amount of resonance. In short, it’s a formula that makes for a nice restoration of the TERMINATOR franchise, especially after the previous installment was clearly heading in the wrong direction.The major fault of T-3 : The Rise of the Machines was that it took the time-traveling concept that had been set-up so carefully in the first two movies by James Cameron far beyond what was logical, or more importantly, believable.
TERMINATOR SALVATION, written by John Brancato and Michael Ferris, who also wrote T-3, corrects that fault by firmly setting the action of the film in the year 2018. Therefore, we have no time-traveling characters or the inevitable paradoxes they invite. Instead, we are introduced to a death row inmate, Marcus Wright, who agrees to let his body become the basis for an experimental Cyborg program being developed by scientist Serena Kogan (Helena Bonham Carter). Resistance leader John Connor inadvertently frees Marcus when he leads an attack on the Skynet laboratories, which sets the new story into motion.
As Marcus Wright, the Australian actor Sam Worthington is a huge asset, giving TERMINATOR SALVATION the kind of subtle performance that Arnold could never reach. And since Worthington is mostly unknown in America, there can be no preconceptions about him. We can’t tell in advance if he may be a force for good or for evil, which is a question that John Connor himself must decide when he first encounters Marcus.
Of course, this idea of good guy or bad guy has been a re-current twist in all the TERMINATOR movies. Sarah Connor didn’t initially know if Kyle Reese was trying to save her or kill her in THE TERMINATOR. Likewise, in TERMINATOR 2 we weren’t expecting Arnold to be a good Terminator. So in TERMINATOR SALVATION, we also wonder if Marcus is good or evil, man or machine, Iago or Prospero?

Given such a fascinating ambiguity in his character, it’s no wonder Sam Worthington takes the ball and runs with it, basically playing a macho action character with an astonishing depth of feeling and pathos. In fact, much to its advantage, the entire first half of TERMINATOR SALVATION centers not on John Connor, but on Marcus Wright, whose amnesia has left him totally unaware that he has been reborn as a cyborg into a brave new world. Thus, he sets out in a journey to discover who he is, wandering through a beautifully realized vision of the American West, after the nuclear Armageddon of Judgment Day has left Earth a desolate wasteland.

All these stunning visuals are captured by cinematographer Shane Hurlbut, along with the assistance of the F/X wizards at ILM and Matte World Digital, who provide us with such iconic vistas as these: the steel hulk of Los Angeles skyscrapers, as seen by Marcus from the remnants of the famed Hollywood Hills sign; an escape by Marcus and Kyle Reese across the Rio Grande Gorge bridge near Taos, New Mexico; an attempt to reach Skynet’s Marin county headquarters by crossing San Francisco’s half destroyed Golden Gate bridge; and most excitingly of all, a fabulous Ray Harryhausen-type of action sequence set at a decimated 7-11 store in the New Mexico desert.
Strangely enough, most of the more exciting action scenes involve only the Marcus Wright character and not John Connor. Which leads one to wonder why Christian Bale, who reportedly was asked to play Marcus, turned that plum part down in favor of the far less interesting role of John Connor! Perhaps he felt he had already explored a similar character in Werner Herzog’s Rescue Dawn, where he plays a man who is both very tough, but still quite tender.
In any case, Bale’s loss becomes Sam Worthington’s gain. Ironically, Worthington was cast for his first major Hollywood film by James Cameron in his upcoming 3-D extravaganza, Avatar. At the TERMINATOR SALVATION press conference, Worthington was asked if he had sought Cameron’s advice before accepting his role as Marcus Wright. He replied, “I told Jim Cameron they wanted me to do it and I explained to him what I wanted to do with the character. He thought it was a good idea and told me not to fuck it up and that was about it. Then he went back to working on Avatar. It’s totally weird that I finished Avatar on a Friday and started shooting TERMINATOR on a Monday. I found it fascinating to still be involved in Jim’s world.”
Based on his work in TERMINATOR SALVATION, Worthington will certainly be an actor to watch in the future, especially in Avatar, where he plays a paralyzed former-Marine who travels to another planet and attempts to infiltrate the alien inhabitants by combining his own DNA with those of the aliens.
Worthington not only gets the best action scenes in TERMINATOR SALVATION, but most of the more memorable emotional scenes, as well. Christian Bale’s role, on the other hand, is extremely predictable. He doesn’t take center stage until the last half of the movie, and even then his action scenes become the kind of thing we’ve already seen far too many times in the first three movies.
Which is why, if there is to be a TERMINATOR 5, it might be best if there is a shift of focus away from John Connor and towards the character of Marcus Wright.

TERMINATOR SALVATION (May 21, 2009). Directed by McG; Screenplay by John Brancato and Michael Ferris; Produced by Moritz Borman, Jeffrey Silver, Victor Kubicek and Derek Anderson. Executive producers, Mario F. Kassar and Andrew G. Vajna; Cinematography by Shane Hurlbut; Film editor: Conrad Buff; Music by Danny Elfman; production designer: Martin Laing; Costume designer: Michael Wilkinson; Terminator makeup and animatronic effects by John Rosengrant; Sound designer: Cameron Frankley; ILM visual effects supervisor: Charles Gibson.
Cast: Christian Bale (John Connor); Sam Worthington (Marcus Wright); Moon Bloodgood (Blair Williams); Helena Bonham Carter (Dr. Serena Kogan); Anton Yelchin (Kyle Reese); Jadagrace (Star).

Laserblast Blu-ray and DVD: My Bloody Valentine, T-2, True Blood

There seem to be an exceptionally large number of DVD releases in the genres of science fiction, fantasy, and horror this week, but that is mostly because several old discs are being reissued as part of a promotion for the upcoming theatrical release of LAND OF THE LOST. If you’re a horror fan looking for something new, your best bet is MY BLOODY VALENTINE, which arrives in four different versions: Blu-ray, 3-D DVD, 2-D DVD, and a 3-D/2-D combo DVD. We personally were not expecting much of anything from the film when it was released earlier this year, but it turned out to be better than expected; in fact, it far outclassed the year’s more high-profile slasher remake, FRIDAY THE 13TH by a wide margin. The 3-D presentation of the theatrical feature has been preserved – something previously beyond the reach of home video, at least with any satisfactory results, and we can’t wait to see how this turned out. As for bonus features, the DVDs offer audio commentary by director Patrick Lussier and writer Todd Farmer, two featurettes, deleted scenes, an alternate ending, a gag reel, a digital copy, and four pairs of 3-D glasses (only with the disc in 3-D, of course). The Blu-ray disc includes all of these plus Lionsgate Live and McLog Motion Blog.

OLDIES AND REISSUES

With TERMINATOR SALVATION on the way, it was inevitable that Hollywood would reach into the vaults and come up with some new home video releases. This week, we get TERMINATOR 2 JUDGMENT DAYin three iterations: an “Extreme DVD” version, a “Skynet Edition” on Blu-ray, and a six-disc limited edition Complete Collector’s Set with Endoskull. We will be posting a review of the Blu-ray disc in the near future.
NIGHTMARE CASTLEis a black-and-white Italian horror film from the 1960s, starring Queen of Horror Barbara Steele. It is not one of Steele’s better outings, but it gives her a better chance to act, thanks to a double role that has her playing two sisters, one good and one evil (as an extra added bonus, the evil one is dead!). This is also one of her few Italian roles that has her dubbing her own voice (for only one sister, unfortunately). Steele fans will be interested, as will fans of composer Ennio Morricone, who provided the score. This new DVD promises a restored transfer from the original negative (older discs, under the title of “The Faceless Monster,” were duped from censored TV prints). There are also two bonus featurettes: one for Steele and one for director Mario Caiano.
Also making a reapparance on DVD is DEF BY TEMPTATION, an above average Troma offering that avoids the usual camp in favor of a serious approach to a tale of a demon tempting a young divinity student. The reason for this exhumation seems to be that the film features an early appearance by Samuel Jackson, whose name is now prominently displayed on the box art above the title.
There are at least eight old science fiction, fantasy, and horror titles being reissued with “Land of the Lost Movie Cash” (which allows you to purchase tickets for LAND OF THE LOST, which opens in June. If you don’t already own the LEGEND Ultimate Edition DVD, the JAWS 30th Anniversary DVD, the TREMORS Collector’s Edition DVD, the Brendan Fraser MUMMY Collectors DVD, or the director’s cut of BROTHER HOOD OF THE WOLF, now is your chance to pick them up and get a little something extra.
Other oldies making a comeback include A BUG’S LIFEon Blu-ray and a director’s cut of THE LAST HORROR FILM(reteaming MANIAC’s Joe Spinnella and Caroline Munro) on DVD – although why anyone would want such a thing is a mystery to me.

THE REST

The complete first season of HBO’s popular vampire series, TRUE BLOOD arrives on DVD and Blu-ray. Other television titles this week include HEROES: SEASON 1 and 2 and BATTLESTAR GALACTICA: SEASON 2.0 AND 2.5.
A few direct-to-video titles hits shelves:

  • OUTLANDERis a science fiction tale about a futuristic soldier who lands on Earth during the time of Vikings and fire-breathing monsters. Jim Caviezel stars; HELLBOY co-stars Ron Perlman, and John Hurt reunite in supporting roles.
  • The names Isabella Rosselini and Judd Nelson are prominently displayed on the cover art for something called INFECTED, which makes you wonder what happened to their careers.
  • Daryl Hannah’s name is securely placed above the title of THE DEVIL’S GROUND, which really makes you wonder why her career did not rebound after KILL BILL.
  • BANEis a low-budget horror film from England. It earned a small distinction last year when it one the Best Horror Film Award at the Shriekfest horror film festival in Hollywood. We hope to post a review soon.

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Terminator Salvation opens May 21

The fourth TERMINATOR film finally takes us into the future to witiness John Connor’s fight against Skynet. The plot involves an encounter between Connor (Christian Bale) and Marcus Wright (Sam Worthington), who may be a man rescued from the past – or someone sent from the future to foil Connor’s plans. McG (CHARLIE’S ANGELS) directed. Helena Bonham Carter, Anton Yelchin, Bryce Dallas Howard, Jane Alexander, and Michael Ironside round out the cast.
The official release date for TERMINATOR SALVATION is Thursday, May 21, but the first screenings start on Wednesday night at midnight (technically Thursday morning).
When it opens next week at Grauman’s Chinese Theatre in Hollywood, the new TERMINATOR film will be presented with a motion simulation process called D-BOX that purports to offer a full emmersive cinematic experience that you can not only see and hear but also feel. Although described as “genuinely new” and “uniquely different,” it sounds a lot like the old Sensurround system to us – which made its debut at the Chinese Theatre way back in the 1970s for EARTHQUAKE.

Trade Reviews of "Terminator Salvation"

Hollywood Reporter’s Michael Rechtshaffen has an advance peak at TERMINATOR SALVATION, which opens this week. He thinks the machines are great, but the humans are too robotic.

The latest chapter in the successful cyborg series following 2003’s “Terminator 3: Rise of the Machines” — and the first sans Schwarzenegger — “Terminator Salvation” doesn’t skimp on all that crunching heavy metal.
But while incoming director McG (the “Charlie’s Angels” movies) certainly gets a rise out of the machinery in the post-apocalyptic thriller, there’s little sign of life where the flatly executed human component is concerned.
The terminally sullen results are unlikely to hurt the picture’s opening holiday weekend, given the presence of last summer’s boxoffice king, Christian Bale, but its total domestic take will fall a lot closer in line with “Terminator 3’s” $150.3 million than those gargantuan “Dark Knight” numbers reaped by Warner Bros.

UPDATE: Variety’s John Anderson seems a bit more pleased with the film:

Darker, grimmer and more stylistically single-minded than its two relatively giddy predecessors, “Terminator Salvation” boasts the kind of singular vision that distinguished the James Cameron original, the full-throttle kinetics of “Speed” and an old-fashioned regard for human (and humanoid) heroics. Only pic’s relentlessly doomsday tone — accessorized by helmer McG’s grimy, gun-metal palette — might keep auds from flocking like lemmings to the apocalypse. The fourth in the celebrated sci-fi series, “Salvation” opens and closes with humanity at war with the machines. In other words, this thing isn’t going to end soon. Nor should it, if it keeps on like this.

Terminator Salvation: Apocalypse and Transhumanism

Will the new TERMINATOR explore apocalyptic anxiety regarding technology and nuclear annihilation in a new way?
The local fire station used to be located a few more blocks to the east of us. Within the last couple of months, the local city police and fire departments secured separate facilities, which means that the fire department is now much closer than  it used to be in the past. On the one hand, that’s a good thing because it means that their response to emergencies and fires in the neighborhood will be much quicker. On the other hand, this means that the weekly testing of the emergency fire siren every Thursday evening is now much louder, and thus able to send more chills down my spine than when it was slightly farther away. Every time I hear this siren, which sounds exactly like the air raid sirens of my youth, it takes me back to my elementary school years when my fellow students and I would hide under our desks in drills that prepared us for the possibility of nuclear missile strikes. With the breakup of the former Soviet Union and improvements in international relations, such preparations and the resulting childhood fears are largely a thing of the past (with the situations in North Korea, Pakistan, and Russia such drills may return), but for those of us who lived in the last few decades of the Cold War, the wail of the sirens serve as a reminder of fears of nuclear apocalypse.
Fears and scenarios depicting The End are found throughout cultures and religions, going back to the earliest times of humanity. Just as we need stories to explain where we have come from and why we are here, we also need stories to explain our inevitable ending. As Elizabeth Rosen has commented, “The story of apocalypse has become a part of our social consciousness, part of a mythology about endings that hovers in the cultural background and is just as real and influential as our myths of origin.” As an explanatory myth, apocalyptic “is an organizing principle imposed on an overwhelming, seemingly disordered universe” (Apocalyptic Transformation: Apocalypse and the Postmodern Imagination[Rowman & Littlefield, 2008]).
In Western culture, apocalyptic has been rooted in the Judeo-Christian tradition which continues to exert strong influences and much of the vocabulary related to considerations of the End. But various cultural circumstances have contributed to the shifting use of our apocalyptic vocabulary, as well as a change in the way in which the apocalypse is construed altogether. So while in its Judeo-Christian context, “apocalypse” referred to a revelation of divine vindication in the face of persecution and seeming cultural disorder, in contemporary usage “apocalypse” is now used as a term that refers to an overarching catastrophe that threatens the existence and present form of the human race. In addition to a change in vocabulary with reference to the End, late- or post-modernity also adds a new twist to the apocalypse, not only moving beyond the Judeo-Christian framework but also critiquing the notion of apocalyptic itself, producing variations in conceptions of the End that introduce new moral ambiguities and at times question whether the End really is the End or more of a radical form of transition and transformation.
Science fiction has a long connection with apocalyptic fears, going back to the early pulp magazines, later moving into radio, motion pictures, and television. It has presented the basis of its apocalyptic nightmares in any number of ways, from fears of alien invasion, nature threatening extinction, religious apocalypse, or science and technology out of control. Douglas Cowan, in an entry in The Oxford Handbook of Millennialism, recognizes each of these as categories for science fiction’s exploration of apocalyptic, and notes that “[w]ith the advent of nuclear weapons at the end of the Second World War, science came into its own as the midwife of apocalypse. For the first time in its history, humankind had the ability to destroy itself utterly, and few in the technological nations were left unaware of this fact.” It is not surprising, then, that a number of science fiction films have connected various aspects of technology such as computers that threaten to take over the world (COLOSSUS: THE FORBIN PROJECT [1970]) to the use of nuclear weapons that threaten to bring about the destruction of humanity (WAR GAMES [1983]).
One science fiction film franchise has stood out in dealing with the apocalypse and combining it with fears of advancing technology in the form of computers, nuclear weapons, robotics, and artificial intelligence. In 1984 director James Cameron released THE TERMINATOR, a combination of action adventure with science fiction in an interesting storyline about a future computer network, Skynet, that would launch nuclear missiles in an effort to destroy humanity and take over the planet for machines. As the battle raged into the future and the victory of the machines seemed uncertain, Skynet would create a race of cybernetic organisms, killing machines, one of which would be sent into the past in order to kill the mother of a future leader of the human resistance efforts.
THE TERMINATOR did well at the box office and struck a chord in the 1980s with the Reagan Administration and its talk of the Soviet Union as an “evil empire,” and growing fears of nuclear confrontation between the Superpowers. It would be several years before a sequel was produced; in 1991 Cameron surpassed his initial exploration of cyborg apocalypse with TERMINATOR 2: JUDGMENT DAY. This second installment in the franchise upped the ante in conflict, moving beyond a terminator hunting a human being to pit Terminator against Terminator. This battle was done with great special effects, computer generated as well as makeup, created by the legendary Stan Winston.
While this battling Terminator scenario made for great action and visual spectacle in T2, without its moorings in a compelling story the idea fizzled with the next installment, TERMINATOR 3: THE RISE OF THE MACHINES (2003). This film pitted two different versions of Terminator cybernetic organisms in mortal combat in ways that looked like “World Wrestling Federation or Ultimate Fighting Champion meets the gender wars.” With this cinematic entry the franchise seemed to have reached its end.
Fast forward to 2009 and the Terminator franchise shows the possibility of new life and potential vitality, particularly if it can reconnect strong visual effects and battling Terminators with the apocalyptic storyline that provide its initial strength. Director McG, previously connected with efforts such as THE O.C. and the CHARLIE’S ANGELS movies, seeks to revitalize the TERMINATOR franchise with TERMINATOR SALVATION, scheduled to open in theaters in the U.S. on May 21. The film’s official website provides the following plot synopsis:

In the highly anticipated new installment of The Terminator film franchise, set in post-apocalyptic 2018, Christian Bale stars as John Connor, the man fated to lead the human resistance against Skynet and its army of Terminators. But the future Connor was raised to believe in is altered in part by the appearance of Marcus Wright (Sam Worthington), a stranger whose last memory is of being on death row. Connor must decide whether Marcus has been sent from the future, or rescued from the past. As Skynet prepares its final onslaught, Connor and Marcus both embark on an odyssey that takes them into the heart of Skynet’s operations, where they uncover the terrible secret behind the possible annihilation of mankind.

TERMINATOR SALVATION promises to break new ground in a number of ways. First, it will be the first film in the series that does not feature Arnold Schwarzenegger. Instead, the director was able to lure Christian Bale to the project as John Connor, an actor who is known for his strong personal investment in films (such as his dramatic weight loss for THE MACHINIST) and who drew acclaim in last summer’s blockbuster THE DARK KNIGHT. Second, the trailers for the film provide hints at what may be an interesting plot development that can take the overarching storyline to new places in connection with the idea of technological apocalypse.

Christian Bale and Sam Worthington
Christian Bale and Sam Worthington

For a while now, many blogs and websites have reacted to early “leaked” details of TERMINATOR SALVATION, specifically speculating on the identity of the Marcus Wright character. Some have thought that the film will depict him as a human working in league with Skynet. Since this early speculation trailers for the film have become available, and they suggest an even more dramatic possibility for Wright, and one more in keeping with a developing apocalyptic myth that seeks to come to grips with technology, specifically in the form of robots.
The shorter trailers for TERMINATOR SALVATION provide only a glimpse of what is presented for a greater period in the four-minute trailer (embedded at the top of this post).  In a tense conversation, Connor  – with a weapon pointed at Wright – asks, “What are you?” The camera shifts from Connor to a tight shot of Wright revealing a human face with an underlying metal skeleton at the outer edges where the human skin has separated from the artificial face. At this juncture Wright replies, “I’m the only hope you have.”
We have seen the combination of cyborg and human before in the TERMINATOR films as Skynet developed killing machines that closely approximated the human so as to make them more efficient hunters. But does this next installment in the franchise hint at something more? Is this hope connected to the film’s title TERMINATOR SALVATION, and if so, what is the substance of that hope?
Our anxieties related to our relationship with technology, particularly as it becomes more sophisticated, and in its computer and robotic expressions come ever closer to approximating the human, touch on at least two areas, including identity and relationship. As technology produces new robotic limbs that replace our own, and as new forms of robotics mimic human intelligence and emotion, this raises questions about our identity and our uniqueness. Will it be possible for such expressions of technology to approximate the human in ways that raise questions about the personhood of our technological creations (one of many disturbing questions raised by Spielberg’s neglected and multifaceted A.I: ARTIFICIAL INTELLIGENCE)?
In terms of relationship we have always had an uneasy connection with technology. We love the gadgets that make our lives easier, and usually take them for granted, until malfunction or power failure makes them inaccessible. Beyond this, what happens when these fruits of technology threaten our lives? It is worth noting that scholars have noted a decided shift in the apocalyptic narrative from its earlier religious expressions to more secular and technological ones that coincided with the first nuclear explosion.
It is dangerous to speculate too much on a film that has yet to be released, based upon brief glimpses from a trailer, but TERMINATOR SALVATION may provide a new element in response to our anxieties and fears over our relationship with technology, that of synthesis. If this is part of the storyline, then once again science fiction presents a futuristic possibility, but one only slightly ahead of the present. An intellectual movement exists called transhumanism or sometimes posthumanism. This has been defined as the combination of technology with human beings in such a way as to “enhance human intellectual, physical, and psychological abilities.” All well and good as we think of Steve Austin in the 1970s television series THE BIONIC MAN, and war veterans with robotic limbs replacing those lost in battle. But many have wondered how far transhumanism might be taken, going so far as to change human beings into something entirely nonhuman or posthuman as part of an ongoing process of evolution and social transformation.
If TERMINATOR SALVATION does indeed present Wright as a human-machine hybrid, then it moves the franchise into interesting new ground, not only in terms of the possibility of surviving nuclear attack, and moving us beyond the action of humans battling Terminators, but also possibly forging new apocalyptic myths related to technology. This will raise new questions about what it means to be human, and the fearful spectre of the possibility of the posthuman. If McG does take the TERMINATOR franchise in this direction he will indeed revitalize it, and inject an important element of philosophical, cultural, social, and theological consideration.

Hazy Future for Terminator

Terminator Salvation (2009)Variety has an interesting article on the hazy future of the TERMINATOR franchise. Although Warner Brothers is opening TERMINATOR: SALVATION this Memorial Day Weekend, no distributor is set for the anticipated follow-up – making this the only summer franchise flick without a distribution deal locked in.
Basically, MGM has rights of first refusal, dating back to a lawsuit resulting from the bankruptcy of Orion, the company that handled the original TERMINATOR back in 1984. However, there is bad blood between MGM and the current TERMINATOR producers Victor Kubicek and Derek Anderson of Halcyon, who accused MGM of interfering with their attempt to broker a deal with WB.
Whether MGM is even in a position to bid on a big-budget property like TERMINATOR is open to question, but there is no doubt that a fifth TERMINATOR would be less of a gamble than TERMINATOR: SALVATION, which is the first to be made without Arnold Schwarzenegger in a starring role.

“If Terminator Salvationmakes good on its current momentum, it will be one of the most sought-after franchises in town, and every distributor will be studying ways to approach the rights holder,” said David Molner, managing director of Screen Capital Intl. “Only time will tell whether pole position is enough for MGM to prevail in that contest.”

Dark Knight vs. Terminator

Well no, except in comic books, there are not any plans to have Batman confront everyone’s favorite cyborg assassin. I just couldn’t resist the headline in the wake of the news, reported at AICN, that Christian Bale will play John Connor in the upcoming TERMINATOR 4. The Internets lit up like a bonfire a few days ago, with news that Bale was in the film, but for all we knew he might be playing the title role. Now the bonfire has been relit, with AICN proclaiming (based on the combo of Bale and director McG) that TERMINATOR SALVATION: THE FUTURE BEGINS will “kick ass.” Of course, some of us feel there is still reason for skepticism, considering TERMINATOR 3.

Bale goes from Psycho to Cyborg?

EW.Com has posted a scoop: that Christian Bale (BATMAN BEGINS) has been cast in TERMINATOR SALVATION. Unfortunately, there is no official word on what role he will play. We’re hoping he gets to be a terminator. The guy is good at playing homicidal characters, judging from AMERICAN PSYCHO; it would be fun to see him take it up a notch as an unstoppable cyborg assassin.
EW also tells us that the story will be a departue from the films starring Arnold Schwarzengger, but details are being kept secret.