The Terminator (1984) is a better film than Terminator 2: Judgment Day (1991). The three other movies in the franchise are utter garbage and will not be discussed further. And, if you’ll lower your pitchforks for long enough, this piece will provide several arguments asserting the superiority of The Terminator. I’ll compare three aspects of the films and explain how The Terminator bests Terminator 2 in each: 1.) The overall plot-theme of the story, 2.) The structure, pacing, and the effectiveness of the storytelling, and 3.) The characters and their respective arcs. I will show that the first film showcases a stronger and more original plot, streamlined structure, and more interesting characters. After remarking on the sequel’s deserved accolades, the stark verdict will follow: Terminator 2 is exemplary, but The Terminator is the greater film.
When remaking a classic, withstanding the inevitable comparisons requires either flawless execution or inspired novelty. Disney’s latest live-action adaptation has an even greater challenge, as it must compete with two masterpieces: the studio’s own animated feature from 1991, and Jean Cocteau’s magnificent romantic fantasy La Belle et la Bête (1946). And though this iteration of the story pays ample homage to both of these predecessors, minor blemishes and stylistic issues prevent the remake from reaching the same heights. Still, a film should not be judged worthless if it fails to equal titans. Beauty and the Beast does a great deal right; it simply doesn’t replicate the Earth-shattering experience of its ancestors.
The first aesthetics post on this blog sought to broadly define the philosophical field of aesthetics, tasked with the study of art and its role in human life. In it, I mentioned that there are many different viewpoints and theories in this field, and that I would be approaching the questions of aesthetics from the perspective of a particular school: Romantic Realism. So, with our foundational knowledge of aesthetics taken care of, we are now prepared to delve into this particular school of thought, which will be the focus of this piece.
In the mission statement of this blog, I indicated that I would be approaching the field of film criticism from the perspective of a particular school of aesthetics – Romantic Realism. But, in order to establish what is meant by “Romantic Realism”, to explain its principles, and to apply its methods of analysis, there is a little background work that must be done first. There is a hierarchy to any field in philosophy, and we can’t begin discussing Romantic Realism without first discussing aesthetics as a whole, particularly in the context of film. This is the purpose of my first post on aesthetics – to define precisely what is meant by “film aesthetics”, and to provide a foundation on which we can build more complex ideas.