“Genisys” director Alan Taylor recreates some “Terminator” sequences shot for shot, but the script, by Laeta Kalogridis and Patrick Lussier, profoundly rewrites the series’ chronology, so that instead of a helpless waitress who learns to be a warrior, Sarah Connor ( Emilia Clarke) is already a gun-toting badass, having had her first encounter with a T-800 ( Arnold Schwarzenegger), whom she calls “Pops,” in 1973. “Genisys” both overlaps with and rewrites other movies in the series, especially James Cameron’s 1984 original. First, “ Jurassic World” built its plot around an extended metaphor for its own superfluousness, and now “ Terminator: Genisys” serves as a potent, if unwitting, condemnation of the endless-reboot era. The summer of 2015 is not off to a great start, but its blockbusters are doing an excellent job of diagnosing what’s wrong with contemporary blockbusters. (Note: This article contains spoilers for “Terminator: Genisys,” although not nearly as many as the trailers do.)
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