Nearly 10 years have passed since Sarah Connor was targeted for termination by a cyborg from the future. Now her son, John, the future leader of the resistance, is the target for a newer, more deadly terminator. Once again, the resistance has managed to send a protector back to attempt to save John and his mother Sarah.
Credits: TheMovieDb.
Film Cast:
- The Terminator: Arnold Schwarzenegger
- Sarah Connor: Linda Hamilton
- John Connor: Edward Furlong
- T-1000: Robert Patrick
- Dr. Peter Silberman: Earl Boen
- Dr. Miles Bennett Dyson: Joe Morton
- Tarissa Dyson: S. Epatha Merkerson
- Enrique Salceda: Castulo Guerra
- Tim: Danny Cooksey
- Janelle Voight: Jenette Goldstein
- Todd Voight: Xander Berkeley
- Twin Sarah: Leslie Hamilton Gearren
- Douglas: Ken Gibbel
- Cigar Biker: Robert Winley
- Lloyd: Pete Schrum
- Trucker: Shane Wilder
- Old John Connor: Michael Edwards
- Kid: Jared Lounsbery
- Kid: Casey Chavez
- Bryant: Ennalls Berl
- Mossberg: Don Lake
- Weatherby: Richard Vidan
- Cop: Tom McDonald
- Jock: Jim Palmer
- Jock: Gus Williams
- Night Nurse: Gwenda Deacon
- Lewis the Guard: Don Stanton
- Lewis as T-1000: Dan Stanton
- Attendant: Colin Patrick Lynch
- Hospital Guard: Noel Evangelisti
- Girl: Nikki Cox
- Girl: Lisa Brinegar
- Danny Dyson: DeVaughn Nixon
- Vault Guard: Tony Simotes
- Jolanda Salceda: Diane Rodriguez
- Infant John Connor: Dalton Abbott
- Pool Cue Biker: Ron Young
- Tattoo Biker: Charles Robert Brown
- Gibbons: Abdul Salaam El Razzac
- Moshier: Mike Muscat
- SWAT Team Leader: Dean Norris
- Police Chopper Pilot: Charles A. Tamburro
- Pickup Truck Driver: J. Rob Jordan
- Tanker Truck Driver: Terrence Evans
- Burly Attendant: Denney Pierce
- Burly Attendant: Mark Christopher Lawrence
- SWAT Leader: Pat Kouri
- Cyberdyne Tech: Van Ling
- Cyberdyne Tech (uncredited): Martin DeLuca
- Male Nurse (uncredited): Joel Kramer
- Frisbee Player (uncredited): Richard Ruskin
- Cyberdyne Tech (uncredited): Scott Shaw
- Mall Security Guard (uncredited): Sven-Ole Thorsen
- SWAT Officer (uncredited): Randy Walker
- Galleria Photographer / Cop (uncredited): William Wisher Jr.
- Baby John Connor (uncredited): Dalton Hamilton
- Roadside Window Woman (Special Edition Restoration) (uncredited): Nancy Fish
- Policeman (uncredited): Mic Rodgers
Film Crew:
- Additional Editing: Dody Dorn
- Set Decoration: John M. Dwyer
- Executive Producer: Gale Anne Hurd
- Editor: Mark Goldblatt
- Foley Recordist: Christopher Boyes
- Casting: Mali Finn
- Sound Re-Recording Mixer: Gary Rydstrom
- Writer: James Cameron
- Writer: William Wisher Jr.
- Original Music Composer: Brad Fiedel
- Director of Photography: Adam Greenberg
- Best Boy Electric: Steven C. McGee
- Co-Producer: B.J. Rack
- Co-Producer: Stephanie Austin
- Editor: Richard A. Harris
- Executive Producer: Mario Kassar
- Editor: Conrad Buff IV
- Art Direction: Joseph P. Lucky
- Costume Design: Marlene Stewart
- Makeup Artist: Ed French
- Boom Operator: Nicholas R. Allen
- Sound Supervisor: Gloria S. Borders
- Visual Effects Supervisor: Dennis Muren
- Makeup Artist: Jeff Dawn
- Sound Re-Recording Mixer: Tom Johnson
- Visual Effects Assistant Editor: Jim May
- Sound Effects Editor: Richard Hymns
- First Assistant Editor: Caroline Ross
- Animation: Andrew Schmidt
- Foley Artist: Dennie Thorpe
- Sound Effects Editor: Tim Holland
- Executive Assistant: Lisa Dennis
- Stunts: Gilbert B. Combs
- Production Design: Joseph C. Nemec III
- Sound Effects Editor: Teresa Eckton
- Stunt Coordinator: Joel Kramer
- Foley Editor: Sandina Bailo-Lape
- Special Effects Coordinator: Thomas L. Fisher
- Aerial Coordinator: Charles A. Tamburro
- Stunts: Bobby Porter
- Stunts: Jeffrey J. Dashnaw
- Steadicam Operator: J. Michael Muro
- Production Illustrator: George Jenson
- Assistant Art Director: Charles William Breen
- Casting Associate: Emily Schweber
- Makeup Artist: Steve LaPorte
- Visual Effects Art Director: Doug Chiang
- Casting: Abra Edelman
- Visual Effects Coordinator: Van Ling
- Hairstylist: Robert L. Stevenson
- Camera Operator: Michael St. Hilaire
- Camera Operator: Don E. FauntLeRoy
- Visual Effects Producer: Alison Savitch
- Visual Effects Designer: John Bruno
- Executive In Charge Of Post Production: Ed Jones
- Makeup Effects: Stan Winston
- Stunts: Glenn R. Wilder
- Camera Technician: Christopher Duddy
- Second Unit Director of Photography: Mike Benson
- Visual Effects Producer: Janet Healy
- Executive In Charge Of Production: Jim Morris
- Concept Artist: Steve Burg
- Assistant Art Director: Gary Diamond
- Second Unit Director: Gary Davis
- Assistant Location Manager: Robert Foulkes
- Stunts: Dick Ziker
- Property Master: Charles Stewart
- Sound Assistant: Phil Benson
- Cableman: Knox White
- Stunts: Doc D. Charbonneau
- Key Grip: Robert Gray
- Location Scout: James Marlowe
- Sculptor: Dan Frye
- Chief Lighting Technician: Sal Orefice
- Stunt Double: Debbie Evans
- Stunts: Cotton Mather
- Costume Supervisor: Bruce R. Hogard
- Set Costumer: Dawn Y. Line
- Construction Coordinator: Steve Callas
- Script Supervisor: Trudy Ramirez
- Aerial Director of Photography: David L. Butler
- Special Effects Assistant: Scott R. Fisher
- Leadman: Barton M. Susman
- Dialogue Editor: Gwendolyn Yates Whittle
- Additional Still Photographer: Merie Weismiller Wallace
- Sound Effects Editor: Ethan van der Ryn
- Stunts: Tommy J. Huff
- Visual Effects Editor: Miller Drake
- Visual Effects Producer: Leslie Huntley
- Casting: Paul Cruz
- Special Effects Supervisor: Joe Viskocil
- Additional Camera: Paul C. Babin
- Gaffer: George S. Neil
- Sound Effects Editor: Robert Shoup
- Still Photographer: Zade Rosenthal
- Dialogue Editor: Ewa Sztompke
- Visual Effects Editor: Michael Gleason
- Sound Effects Editor: Ken Fischer
- Digital Supervisor: Stuart Robertson
- Music Editor: Dan Garde
- Key Hair Stylist: Peter Tothpal
- Art Department Coordinator: Carla S. Nemec
- Foley Editor: Marian Wilde
- ADR Editor: Barbara McBane
- Visual Effects Supervisor: Gene Warren Jr.
- Sound Effects Editor: E. Larry Oatfield
- Sound Re-Recording Mixer: Gary Summers
- Post Production Coordinator: Crystal Dowd
- Dialogue Editor: Stacey A. Foiles
- Sound: Kevin Rose-Williams
- ADR Editor: Michele Perrone
- Transportation Coordinator: Gene R. Johnson
- Foley Editor: Diana Pellegrini
- Stereoscopic Technical Director: Rustin Devendorf
- Stereoscopic Editor: Reginald Harber Jr.
- Stunts: Lane Leavitt
- Post Production Supervisor: Pamela Easley
- Set Costumer: Greg Hall
- Rigging Gaffer: Kevin J. Lang
- Dialogue Editor: Sara Bolder
- Sound Mixer: Lee Orloff
- Standby Painter: Bill ‘Kauhane’ Hoyt
- Digital Intermediate Colorist: Skip Kimball
- Supervising Music Editor: Allan K. Rosen
- Key Grip: Scott M. Robinson
- Grip: Richard Crompton
- Dialogue Editor: Paige Sartorius
- Propmaker: Peter Flynn
- Visual Effects Camera: Christopher Warren
- Scoring Mixer: Tim Boyle
- Sound Engineer: John Rotondi
- Roto Supervisor: Tom Bertino
- Camera Loader: Stephen Sfetku
- Production Accountant: Pam Kaye
- Storyboard Artist: Phillip Norwood
- Picture Car Coordinator: Steve Bonner
- Weapons Master: Harry Lu
- First Assistant Editor: Jane Kass
- First Assistant Director: J. Michael Haynie
- Set Dressing Artist: Craig Baron
- Electrician: James M. Cox
- Additional Visual Effects: Larry Arpin
- ADR Editor: C.J. Appel
- Key Production Assistant: Trey Batchelor
- Pyrotechnician: Robert Hutchins
- Matte Painter: Richard Kilroy
- Craft Service: John Moy
- Chief Lighting Technician: Gary Tandrow
- Set Designer: Carole Lee Cole
- Visual Effects Coordinator: Gail Currey
- Dolly Grip: Donald L. Hartley
- Rigging Grip: Rodney Veto
- Art Department Assistant: Duncan Kennedy
- First Assistant Camera: Michael A. FauntLeRoy
- Driver: George Grenier
- Executive in Charge of Finance: Marty Shindler
- Post Production Assistant: Joseph Berger-Davis
- Stand In: Maryellen Aviano
- Unit Production Manager: Dirk Petersmann
- Utility Stunts: Bobby Aldridge
- Video Assist Operator: Rick Dungan
- Color Timer: Art Tostado
- Location Manager: Stephen C. Dawson
- Production Coordinator: Beth Block
- Publicist: Steve Newman
- CG Animator: Geoff Campbell
- VFX Artist: Andrew Kennedy
- Special Effects Technician: Bob Ahmanson
- Production Assistant: Scott Beverly
- Second Assistant Director: Dustin Bernard
- Assistant Production Coordinator: Dean Wright
- Payroll Accountant: Denyse Rossi
- Negative Cutter: Roberto McGrath
- Assistant Property Master: Linda Waxman
- Best Boy Grip: Rick Rader
- Second Second Assistant Director: Xochi Blymyer
- Rotoscoping Artist: Tim Scannell
- Conceptual Illustrator: David Russell
- Graphic Designer: Paul Olsen
- Second Assistant Camera: Gavin Alcott
- Location Assistant: Marc Cohen
- Technical Advisor: Michael Albanese
Movie Reviews:
- zag: Terminator 2 is basically one of the greatest films of all time, its an absolute must watch if you like Science Fiction, Action, or even Comedy films. It could have been so bad, but the film somehow pulls it off with crazy stunts, an amazing cast and a great story.
The film really tackles the fate of humanity straight on which gets you thinking about our path as a species but also what we can do today to change things. The story takes you on a journey which is one of the most believable time travel movies of all time.
The action scenes are fantastic, with wall to wall fighting, car chases and military maneuvers that will keep you on the edge of your seat. That’s mixed with a great cast and brilliant story telling from the directory. I would say its even better than the first movie which is also a classic.
Overall I have probably seen this movie 20 or 30 times over the last 25 years(go is it that long!!) and still don’t get bored. Its a timeless classic that I urge everyone to watch.
- Gimly: While I am in that minority which believes it is actually the first _Terminator_ movie which is the best of the franchise, don’t let that for one minute convince you I don’t absolutely love _Judgement Day_. It’s honestly pretty crazy to me how just bonkers good these first two _Terminator_ movies are. Especially when you consider how completely every single sequel managed to miss the mark.
I like to imagine that in the Good Timeline, where everything isn’t Terrible™, this movie is exactly the same, but the trailer doesn’t spoil the twist about Robert Patrick being a Terminator and Arnie being a good guy. I know that they also spoil the twist about who’s a Terminator and who’s not and who’s a bad guy and who’s not in the trailers for the 3rd, 4th, 5th, and 6th too, but I’m pretty sure that in the Good Timeline those never got made, so whatever.
_Final rating:★★★★½ – Ridiculously strong appeal. I can’t stop thinking about it._
- Kamurai: Great watch, will watch again, and can recommend.
This is everything the original was turned up one notch. Now Arnold is a caring unfeeling robot, and we missed a whole movie where Sarah Connor went hard into training.
This has twists, escapes, a liquid terminator, better special and practical effects, some big explosions, active discussion of how to change the future, and some really iconic moments.
The movie isn’t chatty in the traditional sense, once Arnold gets involved, all the dialogue outside the asylum is very much to mechanically move the plot forward. The terminators don’t voluntary “chat”, they more vomit exposition dialogue.
While I’ll always remember this as a great movie, it isn’t without its flaws. Hearing John’s pre-pubescent voice cracking almost made me turn it off, and I know I found a couple of (small) problems while I was watching, but I couldn’t remember them by the end of the movie, so they’re clearly not that important. I may have been a bad foley sound on a weapon, and probably something that the T-800 that didn’t seem robo-talk enough.
I honestly don’t know who isn’t going to like this movie: it even has a low kill count.