Terminal (2018 film) is strictly for viewers who can’t get enough of Margot Robbie’s Harley Quinn. And those 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 gets embroiled in a murderous game of cat and mouse. The stakes of which are 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 guess you could also consider Michael Bay’s Transformers series as visual excellence. In either case, certain elements of the visual aspect are so attractive, viewers are inclined to forgive all glaring shortcomings. People leave the cinema thinking, “Well, at least it was good looking! It was good looking!”
It was good looking.
Terminal (2018 film) falls into this category. Though overcooked, the luscious set pieces are undeniably seductive eye candy. For Daz3D fans like me, it’s also a 90 minute tutorial on mood lighting, a tutorial further made attractive by the deliciously delirious Margot Robbie who 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 and so, so drawn out, you wish for the climax to end the moment it began.
In addition, to me, there’s also some sort of weird satire of the Saw franchise. I didn’t hate this, but neither do I see the point too. In short, this naughty parody does no more than to add to the question of, “was all of that really, really necessary?” Could the movie have been shorter, tighter, and more involving?
Yes it could have.
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