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Since Rise of the Machines performed adequately in 2003, making $433m globally from a $200m budget, there have now been three attempts to reframe the franchise. But what does all this really mean?Ĭhristian Bale in a scene from Terminator: Salvation. Within the Terminator franchise, it’s far beneath the openings of Rise of the Machines ($44m) and Salvation ($42m) but slightly up on Genisys ($27m). To put that into perspective alongside other action sequels this year, that’s less than the openings of John Wick: Chapter 3 – Parabellum ($56m), Godzilla: King of the Monsters ($47m), Dark Phoenix ($32m) and even Men in Black: International ($30m).
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The film’s budget has been reported as $185m, a staggering amount given the franchise’s spotty history, and while experts had forecast a weekend of between $30-40m, Dark Fate sputtered out at just $29m in the US. Reviews were decent but early tracking suggested that audience interest was minimal and early pre-apocalyptic panic started to set in. It also provided a major return for James Cameron, shapeshifting from director to producer, giving his stamp of approval, one that was bombastically bragged about in the film’s pricey marketing campaign. It’s a strategy that hauled Michael Myers back to life, and profit, last year with the shock success of the gory palate-cleanser Halloween, making $255m worldwide and becoming the biggest slasher film of all time.īringing back Arnold Schwarzenegger was less of a get, given that he had stuck around for 2003’s Rise of the Machines and 2015’s Genisys, but reuniting him with Linda Hamilton was a more sellable sell and the film itself played out like a Force Awakens-style retread, regurgitating a similar formula with plenty of sly winks aimed at longtime fans. The solution was simple: forget the three films that came after (something most people had already done) and create a retcon reunion, following on directly from the still-adored second chapter.
#Terminator salvation: the final battle series
The unfortunately titled Terminator: Dark Fate was supposed to be a franchise-saver, a much-needed burst of life for a series that had been struggling to stay alive since Judgment Day in 1991.