The Sistine Chapel of action blockbusters. Set pieces sprawl over multiple environments, character beats effortlessly punctuate the spectacle, editing and music go hand in hand, few movies feel as gigantic as Cameron's, yet his exceptional command is of someone who seems to have a finger in almost every aspect of the filmmaking.
In one of the countless masterful sequences that permeate this picture, the director brilliantly shifts settings and manipulates time in order better communicate with his audience:
first, the rhythm is frenetic following John's exasperated attempt to escape what he thought was a police officer;
then, things slow out at the sight of the Terminator, who appears to be meaning harm at first, but reveals to target the T-1000…