Terminal (2018 film) is strictly for viewers who can’t get enough of Margot Robbie’s Harley Quinn. As well as viewers looking for a filmmaker’s tutorial on mood lighting.
Terminal (2018 film) Synopsis
Two hitmen, a janitor, a waitress, a dying school teacher, and a mysterious criminal mastermind get embroiled in a murderous game of cat and mouse. The stakes: the exclusive rights to the mastermind’s lucrative hit contracts.
There are many films with absurd plots and weak acting that are still beloved for their styles and executions, for example, the Italian giallo movies of Dario Argento.
If you’re into expensive effects and (unnecessary) explosions, I suppose you could consider Michael Bay’s Transformers series as visual excellence too. In either case, visual elements of the movie are so attractive, so alluring, viewers are inclined to forgive all story shortcomings.
People leave the cinema thinking, “Well, at least it was good-looking. It was good-looking!” It was so great looking.
Terminal (2018 film) falls into this category. Though often overcooked, the luscious set pieces are seductive eye candy. For Daz3D fans like me, it’s also a 90 minute tutorial on mood lighting, one truly fun to sit through thanks to the deliciously delirious Margot Robbie. (Sidenote: she proves she is indeed perfect for the role of the mental Harley Quinn)
Alas, elsewhere, there is little to appreciate. The story isn’t exactly ludicrous, there’s a nasty twist too. Problem is, the presentation is so erratic
Worse, there’s also some sort of weird satire of the Saw franchise. To be clear, I don’t hate this but neither do I see the point too. Simply put, that naughty parody does no more than to create the question of, “was all of that really, really necessary?” Would the movie be tighter and more involving without it?
I’d say, it definitely would have.
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