Film
30’? H9? ‘ 5'9” After a 12-year hiatus. Arnold breakthrough use of computer MON'RAK TERMINATOR 3: RISE OF Schwarzenegger's back doing generated effects. TRANSISTOR
THE MACHINES (15) 115mm .000
. what he does best: playing a robot Grand as all this ‘real‘ destruction
(12A) 108mm ... that smashes lots of people and is. T3 nevertheless feels like a small :\ H .- ' things. In terms of mass movie. Where T2 cleverly plotted ' ' V- ' . a destruction. T3's up there with time travel conundrums. advanced _. . . . . . .. President Bush's best efforts. The the first film's plot by introducing a E-‘ . 1- r- ‘- v". -." . ' film’s most grandiose set-piece is a superior Terminator to combat :" : ~ " '.’ t ' :1 w ' “ catastrophic car chase through Arnie‘s and set the whole thing .' '.'. .' : . downtown Los Angeles. During its against a backdrop of a futuristic '- " -.: ' : course. saviour of the human race apocalypse, T3 merely rehashes the _t ' ' p -- and liberator of machine rule of the same scenario. But, hey, we get : ~ - :- future, John Connor (Nick Stahl more, and cheaper, jokes. For 1‘ " - - - ' : replacing Edward Furlong), is example, once again being shot " » ~ " x w ~ -' pursued by T-X, or Terminatrix back through time to arrive in the :' '_ r' .'. (Kristanna Loken playing ‘kinky present day naked. T-800 manages ‘_' : :‘ ' t female cyborg‘), Connor is making to find yet another black leather ' " " his getaway in a giant mobile outfit to wear. But this time it's not l-‘ :»- z z : : crane. Meanwhile, T-800 (Arnie’s from a biker, but a male stripper at : cyborg. once again reprogrammed a hen night. Funny enough, but ' " "~- : -- '- w to help the humans) follows on a such self-parody suggests the -.' ' z : .° motorbike. Terminator films have run their ' " ' ' '- :'
It’s a testament to the amount of course. : --t ~ A °' . i“ ' destruction of property that the Even bringing a new director, : . ‘ ' 2 cost of the actual stunts probably Jonathan Mostow (U-571), onboard '~ .° v : outweighs the expensive but fails to breathe life into T3. Mostow :1, t :- , largely out-of-sight virtual CGI handles the action respectably : -A ’. ' " ° effects. This gives T3 a dated feel, enough, but perhaps the absence .~ ' n ' ' :' 2 .: '. reminiscent of pre-CGI 19805 of T1 and T25 maniacal visionary ' a .1 . ' action movies. And that’s ironic. James Cameron has resulted in a because Terminator 2: Judgement less ambitious actioner.
Day advanced the genre on a (Miles Fielder) Has T-800 tun his course? technical level with the then I (Seaweigzl wieaw I! ' Aug,-
ACTION CHILDREN SPY KIDS 3-D: GAME OVER (12A) 90 min 0...
Spy K/ds (N) Is the latest Instalment Ill writer director editor tea-maker Rohert Rodriguex's popular franchise. Ill which we tollow the further adventures of under—age spies Jun: and Carmen Cortex lDaryl Sahara and Alexa Vegal.
As; seguels go, this is; extremely emoyalfle, thanks; !ll large part to Rodriguez's decision to resurrect the limping ghost of it D cinema. absent from mainstream mowes since 1989's N/gntmm‘e on Elm Street :3.
Rodriguez has sexed up the technology a little hut the l " - t ' 1 end result still requires you to wear a pair of funny- , t', N vw l ( looking red green glasses so that's cool in a kind of :30s; 8 log: t‘,’ ' 4 retro way. ‘ y, (y. t g. . p ,. When Carmen becomes; trapped Ill a sinister ‘.’llltl£ll He is tiny but he is mighty tx-erwi .v‘ '- ‘. 'a'. reality video game. Junl ls the only one who can sane Ev " " - hm from the clutches of the loymaker (Stallone. mlM’mON 3,31 l"° . , , licensed to over-act and enjoying eyery mlnute of ltl. an BIKOU AND THE SORCERESS a»: :::. n g '; ,e'; .- . 74min .0. ewl games; designer. 1900 s Mexucano heart throh HHUl is. a fuu- w; Ricardo Montalhan gets another welcome Outing as the l'applng a'.'./ay from inside hls rrotltevs; tu'mu Kl'wx. " . w: .: ,'l:'. kids' grandfather while their parents lBanderas and wants; to get on with life: he's; ll‘li;£tl!(:"°t W :t and ’;;.'. w,- z.. " w ms, t, n Carla Guginou are side-lined for most of the mowe. pops, But (:rax-xllng onto to the safety, r;f :x-t-aut H,- ‘z: ,1 '.' :z, .' ' ‘ Never mind: the 3-D effects and set pieces are both learns the temple truth. All has; prottle's {1W} ‘arv‘ l, haue " :' ' «H : inventive and nnpresswe The script 1:; Wllly and there been eaten up n, the ex»! Karaha. the '.rl!age ls; fl‘:fi!'t‘.;i’.~’:’l ',' ' t/fz't ‘r, are sex/Oral great gags. Including a cheeky nod towards '~.'./hat are you going to do K:rikou’2 light The! aw: rescue The Matrix. There are amuslng cameos from all sorts; ot e\.'en.~one. of course Level, lzttle Kmkeu go ia'l. “WW #:twiz'“) ‘r" l, D's) "it'lles “"0 it SWHOW? “lll>res;s;zon by George Set I". \f/est Africa. the landscape sl‘ltts fr'c'v‘ fl(:_ 'lusty re”, s,‘ ’,."l!,’,| ‘1, Clooney. What more do you want? Recommended. plains to 'ush forested oases; and towering 'ncuntam Linn.- '1‘:'w,n~:':s, when lMalthW THING?” the animation shrinks and expands. All Is; ethnograp't ', :: Mai/x art", ‘a'f. I S(’/9(3m<”0/9<'150from F.” 7 All.” soarseness. a style that aliens; the zle.-.er's; "‘i’ttlll‘ét'. ‘1, "/11 mafia um '. s‘.'.'el| among the mud hats; and rettt)l’)63f3<)'t“:(t fines. If"; a leyg' e' z "i. put a long way from the colonial orthodox, of 7"»; t a" K wefat, I, I: "11'", But that's; probably .‘rh, lt non Brtsh Armat on ALAN} ‘0' who My '; .e, to best European anamated feature 21/12 are not an, Oscar Saws. ‘;;;;1‘.:2"1'i:1' forltsmuslc. althoughYous;s<:.i N'Ds;‘.."nas :;',r;"e'tt"1e"r'3 ates '-’:C' ' 0 It's a brave. charmlr‘g {1"(1 Impressrm atte'wct 1’, (1', f' f' r- .' ‘f somethzng dtfterent tor teatm‘e- er‘gtr‘ alw‘latlsyz pm... "7; .‘.":‘,'.‘:" at 'g " paths of storytelling ~.'.’lthout Zl‘f: endless nae-st ‘or teenwgl: Traxa' I: T' we ', aw, Innoxatlon Yet Krlxou. by :Is .er, nature, can”: Heir, cf. 3 1, _.~,-',- I,‘ €r'";'.".‘:? great reamfitce old. hurled memorles .Jf berg waste it safe" 30' T~’:"':/,'J:", “a short fllllTS about wheat chatting 1n Mal: p, £1".{;_{,"":‘.‘;££’;"‘:' " e. o‘ the in a cattan. Still. cur-ous your‘g t;c,s an’: {W s 9/; f' r.- r’ia’m lge'. x1 wart. open and natural displays of rakes: t'es“. and the 1:;er «wit 'v penultimate scene .'.'here lone hlcssen‘s; a'ms: a." arra, 0‘ Mules, Fr,- deb .s. ; ‘.'.’ll|l€ flex-.ers IS sturwngl, beautlfit. Rut" Hedges I F " ' 3 51'") SD 3 go go I JGC Gasge.z. ".3"; Fr ‘ Aug. 21:? z x1
14 THE LIST 3*. A...)