Thirty-one years and counting, and the Terminators keep rolling off the assembly line like new iPhones, upgraded with shape-shifting abilities, rebooted Sarah Conner assassination levels and, one presumes, better selfie cameras.
“Terminator Genisys,” directed by Alan Taylor, is the fifth entry in the series begun by James Cameron and a naked money grab aimed at rejuvenating a flagging franchise. The three-plus decades of “Terminator” have spread across the relentless march of technology and the Internet, but the movies are curiously stuck between their pre-digital 1980s origins and a dystopian vision of machines’ rule over the planet.
