Set in a post-apocalyptic future, the latest instalment in The Terminator series follows on from where audiences last saw John Connor at the end of Terminator 3: Rise of the Machines when the war with Skynet and the machines began. However, it also feels like a prequel, covering the back-story that leads to Connor’s decision to find and then send resistance fighter Kyle Reese back in time to protect his mother, Sarah Connor, as depicted in the original 1984 Terminator film. The other key character in this fourth instalment is Marcus Wright. Wright is a character who was supposedly executed in 2003 but finds himself very much alive in 2018 and helping Reese to stay one step ahead of the homicidal machines.
Plausibility is the greatest enemy of the action film. Action films either desperately try to create a sense of logic behind each action sequence (usually resulting in further generating ridiculously stupid story-lines) or simply ignore the need for a narrative and get on with delivering the expected visual action displays. Charlie’s Angels does something different. It exploits its inherent implausibility and lack of narrative coherence to full comic potential, leaving the viewer on one hell of a ride of exhilarating action and laugh-out-loud humour.