One of the most divisive films of the year – a love it or hate it type (in which most fall into the latter) is Vaughn Stein’s 2018 flick Terminal. . . a feature steeped in film noir, dystopic future and gothic horror, a glossy B movie that pays tribute to the 1940s, Ridley Scott’s Blade Runner, the films of Brian De Palma, Quentin Tarantino, Guy Ritchie and tales the likes of Edgar Allan Poe and Lewis Carroll.
As if dropped down the proverbial rabbit hole, Stein transports us into a dichotomous world, wet and sleek, decrepit and glossy, dangerously alluring, a Terminal (that seems to lead to nowhere) in which we find Annie (Margot Robbie) spinning her nasty web. Porting numerous garbs (one a striking red coat) and hair resembling Veronica Lake, the forking story has her working in the looming locale’s all-night diner. . . a waitress with a sharp tongue and cantankerously flirtatious attitude. Chatting up a sickly English professor, Bill (Simon Pegg), as he waits for the arrival of the next train to nowhere, his illness piques the fatale in the femme.
A diverging story shows the dame as an assassin, a wily killer whose toes are being trampled on by her mysterious unseen superior – Mr. Franklyn, who is threatening to distribute his hits elsewhere, namely a pair of killers – Vince (Dexter Fletcher) and Alfred (Max Irons). Given a short time to prove her worth, Annie tinkers and prods, spies and seduces, a femme fatale nonpareil.
Others flit in and out of the story. . . two lousy muggers who lack the skill, conviction, or the gusto to pull off the job (Thomas Turgoose and Matthew Lewis – yes, Neville Longbottom from the Harry Potter franchise), and a simple, quirky (and oft whistling) night manager (i.e. janitor) with a unique British accent (Mike Myers – riffing on his Austin Powers character in an interesting way).
Dialogue heavy, Terminal is at times sharp, funny, and turgid, a weird mix of Alice in Wonderland meets cheesy philosophical noir and Tarantino/Richie banter. For instance, Annie is constantly prodding Bill towards suicide – “You want my advice? Just end it. There are more ways to end your life than there are ways to live it”, and, though the man was originally waiting for a train, “4:04 is an age away and it’s not time that I’m trying to kill”, he is not truly ready for death. It does not stop the lady from suggesting an ever growing list of brutal ways to die (envisioned through gruesome possible flash forwards), after all, she has “an unquenchable bloodlust for darkness”.
Though the dialogue hits as much as it misses, the true heart of the movie is its visual aesthetic. Neon soaked walls (water reflecting the kaleidoscopic colours), light seeping through fans, blinds, and the like, it is a 21st century noir to be sure. Some have called it a regurgitation of past style, but alas, what isn’t – more celebrated directors like Kubrick, Tarantino and De Palma have done the same, you just need to know where to look. Stein does a scrumptious job pulling from multiple avenues, finding impressive real world locales (in Budapest, Hungary) that will awe and amaze – it is sometimes hard to believe what we are seeing is real. Dressing them with this glowing radiance, Stein and cinematographer Christopher Ross are able to harness the multitude of hues, meaning that the characters can transition from shades of blue to red (or any other colour) with one step – a GIF worthy film to be sure.
And, then there is the ending. Packed with twisty turns, some of which are fair, others not, it is a gonzo ride into a futuristic oblivion. Flashbacks unearthing past misdeeds, two character reveals, and bloody violence pop up, an out there gothic-tinged climax and conclusion that is hard to put into words.
Full disclosure here, I have long been a bit forgiving towards films with impressive visuals. . . and, while this one is a rare picture that does not meet my 7.0 rating (finding itself in a grey area where it meets my approval without actually meeting it), this somehow seems just about right for a movie that is as dichotomous as this one is.
Though it has issues with pacing, and its plot and narrative can, at times, have you rolling your eyes, Terminal, which I will term a neon-noir, is a fascinating mind bender nonetheless. Featuring stellar performances (Robbie a cross between her Harley Quinn character and fanatical femme fatale, a darkly comedic and original turn from Pegg, and you’ll have to watch it for Myers – exciting to see him back in cinema after nine long years), eye-popping visuals, and plenty of intrigue, it, should, at the very least, have you thinking. So, don’t eliminate this one from your list, despite some lobotomizing reviews, it should provide you with a double dose of déjà vu.