Metacritic reviews

A fast-moving, rock 'em-sock 'em movie that continues the man-vs.-machines series begun 25 years ago.

With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.

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.

Yet what makes this movie is the digital effects. It's got all the heart of a demolition derby.

In Arnold's absence, an important ingredient of the "Terminator" iconography -- namely, the fun factor -- is in short supply.

The most timid in the series. There's no invention in it, no sense of discovery. Only the impressively orchestrated action sequences feel fresh.

Among the many things junked in McG's chop-shop is the notion of pleasure.

Though competent in its B-movie way, Terminator Salvation lacks the humour, heart-tugging moments and visual pleasure that made the first two movies of the series modern pop masterpieces.

Most of the running time is occupied by action sequences, chase sequences, motorcycle sequences, plow-truck sequences, helicopter sequences, fighter-plane sequences, towering android sequences and fistfights. It gives you all the pleasure of a video game without the bother of having to play it.

With McG's migraine-inducing jerky-cam and monochromatic palette (livened only by splotches of rust), Terminator Salvation puts the numb in numskull.