Terminator 2 - Tag der Abrechnung jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Netflix, Sky Store, iTunes, Google Play, freenet Video. Terminator 2 - Tag der Abrechnung - Online schauen In James Camerons Action-Klassiker Terminator 2 kehrt Arnold Schwarzenegger als Kampfmaschine. Terminátor 2. Video > Trailery, Filmy, Seriály. Play Video. Přehrát. Ztlumit zvuk. Current Time /. Doba trvání Načteno: 0%. Stav: 0%. Stream TypeŽIVĚ.
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Terminator 2 - Tag der Abrechnung - Online schauen In James Camerons Action-Klassiker Terminator 2 kehrt Arnold Schwarzenegger als Kampfmaschine. Terminator 2 - Tag der Abrechnung Online Schauen HD (Deutsche-Austria). () Stream DeutschYour browser indicates if you've visited this linkhttps. Gibt es Terminator 2 - Tag der Abrechnung auf Netflix, Amazon, Sky Ticket? Jetzt online Stream legal finden! Terminator 2 - Tag der Abrechnung jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Netflix, Sky Store, iTunes, Google Play, freenet Video. Ein neu programmierter Terminator kommt aus der Zukunft, um den jungen John Connor vor einem Gestaltwandler-Cyborg zu schützen. Mit:Arnold. Jetzt Terminator 2 - Tag der Abrechnung online schauen. Terminator 2 - Tag der Abrechnung online leihen und sofort anschauen bei maxdome, Deutschlands. Terminator 2 - Tag der Abrechnung p HD FULL Movie mit deutschen Untertiteln zum Download bereit ODER Online ansehen. Download Terminator 2.
Terminator 2 - Tag der Abrechnung ist ein Actionfilm von James Cameron mit Arnold Schwarzenegger, Linda Hamilton und Edward Furlong. Terminator Film ist. Terminator 2 - Tag der Abrechnung jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Netflix, Sky Store, iTunes, Google Play, freenet Video. Jetzt Terminator 2 - Tag der Abrechnung online schauen. Terminator 2 - Tag der Abrechnung online leihen und sofort anschauen bei maxdome, Deutschlands.
Jonathan Dunn. Game manual:. File size:. Game size:. Recommended emulator:. From Wikipedia, the free encyclopedia:. Terminator 2: Judgment Day is a action video game developed by Dementia and published by Ocean Software.
For fans and collectors:. Find this game on video server YouTube. Buy original version of this game on Amazon.
Available online emulators:. The basic features of each emulator available for this game Terminator 2: Judgment Day are summarized in the following table:.
Java applet. Similar games:. Terminator 2. The Terminator. Check system requirements. Available on HoloLens.
Mobile device. Xbox Description Arnold Schwarzenegger is back as the cyborg from the future in one of the most successful sequels of all time.
Cast and crew. James Cameron Director. Additional information Directors James Cameron. Directors James Cameron. T2 was about paternal love between mother and son and her struggle with her sanity, morality and feelings, as well as a story of human life with two "robots' going at it.
Those are completely different movies yet narratively unified as one cohesive story from beginning to end, with artistic consistency with similar, echoed sequences and events which are equivalent to rhymes in a poem, called story rhyming or Narrative Symmetry.
Brilliant but hard to achieve literary device. Narrative Symmetry is defined as "the same idea expressed and interpreted in different ways, using recurring themes; taking the same motif and twisting it into a different way" George Lucas James Cameron: Together, "The Terminator" and "Terminator 2: Judgment Day", comprise a single, complete narrative.
I like to think there is more the same about these two pictures than there is different. And though they were made seven years apart, one can hopefully see the themes and ideas which unify them.
You wanna have touchstones with the first film without going through the same ground kind of laboriously. Van Ling: The challenge of doing sequels is finding novel ways and contexts in which to reiterate the classic beats and concepts from the original film.
So in this particular case, its the same shot and same image, yet evoking completely different feelings and reaction. This time it's curiosity and tension instead of disgust and terror.
Great poetic twist. This scene shows even more of John's leadership skills. He is the one taking charge, he is the one thinking clearly and unstained by emotions even despite the recent events, thinking logically and analyzing their situation, position and assets.
He is also smart enough to know how to psychologically handle and stop his mother, presenting his skills in handling people and his psychological knowledge.
Adam Greenberg uses lighting to create the mood of the environment but also to reinforce the performances. This scene covered three narrative issues simultaneously: resonance, setup and motif.
It had resonance by having T perform the same action as in the first film but in a different context. The scene also set up the gag of finding the keys in the visor later on.
The choice of station wagon reinforces the recurring motif of the trio as a strange kind of family. Good storytellers think about these things and try to incorporate them even in action films about robots from the future.
In one of the car conversations, another theme of the movie is introduced: it's all about the decisions you make - it's less about running away and more about fighting back and taking actions and challenges.
Sarah is thinking beyond simply running or treating the impending apocalypse as inevitable. Knowing that a straight assault on the company is a futile effort she is looking for more effective offense.
You can also notice how worn out and used T's jacket is, which gives the whole thing a sense of realism. Rather than just covering the plot points, Sarah's narration is more contemplative of the overall themes of the film.
It also echoes the way idea in the first movie when Sarah was recording the tapes which is another narrative tie to the first movie, unifying both stories.
The scene also shows that desert mercenaries lead a more normal life than Sarah. The beautiful light from the sunset and melancholic yet haunting music reinforces the moment.
The playground sounds in the Nuclear Nightmare had a theme to it as well. Sound designer Gary Rydestrom: "The swings and the playground equipment gave us an excuse to do some wild stuff with metal creaks.
So we would choose interesting metal creaks that had a pattern, sing-song pattern and repeat it over and over again in a very haunting way so it became almost like music".
The No Fate theme is getting a primary focus. James Cameron: "Nothing really happens in a deux ex machina fashion in this film.
People are actually responsible for what happens. Every moment is a decision. Nothing just kind of happens by coincidence, Sarah doesn't shoot Dyson because the Terminator and John come charging through the door at the right time and stop her, but because she decides not to.
I like that the film is thematically consistent this way. The previously mentioned theme is now getting expanded more. When T becomes more human during Salceda Ranch scenes, James Cameron: "There is nothing more American than a kid working on a pickup truck with his old man, so everything is this kind of looking at universal relationships through this kind of demented lens".
The scene also gives more exposition in an organic way. She has now became the Terminator, right down to the music used to score the shot. The use of red dot and Sarah's stoic, lit in cold colors, unmoved face mirrors the image of the Terminator from the first movie, while Dyson mirrors her own character from the past - an innocent targeted for termination for something he hasn't done yet.
A brilliant twist and character shift. In the following scenes she redeems herself as a human being and a mother and when she meets John she realizes that her son is truly becoming the tactical and moral leader.
This is the emotional climax and resolution for the relationship between mother and son. James Cameron: "The interesting thing is the first film was about the evil guys in the future deciding that they can change their reality by killing one person in the past, and in this film Sarah realizes that she can change the future that was described to her and has lived in her mind for so long, she can change that by killing one guy in the present and she makes that decision.
The problem is, he's a nice guy with a family, he doesn't know what the consequences of his work will be anymore than she could know what the consequences of her existence would be when she was a waitress in the first film".
James Cameron: These movies aren't really about terminators, we don't really care about robots from the future, but how WE become dehumanized everyday, whether it's police, psychiatrist, medical caregiver, soldiers, all the different ways we become dehumanized and discount each other, even to the point of discounting the value of another human life.
I think that's what makes these two films really live and breathe. Good writing and tactical thinking: to prevent alienating the Dyson family, which surely would have been absolutely convinced that their house invaders are lunatic terrorists, and to avoid Dyson trying to ether contact help or run, a blade and a couple of seconds turned the Dysons into instant believers.
James Cameron: "How do you graphically show somebody that all of this implausible story that you're about to tell them is absolutely true".
It's designed to make Dyson look like a suspect during an interrogation. Miles Dyson had the biggest character arc in the film. The character had to move from innocent technophile to a mortified believer who selflessly sacrifices himself for the good.
He didn't have to go and didn't have to lose his life. He had a perfect life in Malibu, rich and with loving family and yet for the good of humanity he chooses to give that all up.
Just like Sarah. Note a short, subtle but emotionally rich and telling moment right before his death when Dyson is seen immersed in his own thoughts.
Dyson never even had a chance to process everything right up until his last moment. James Cameron: They're basically trying to eradicate every trace of his life's work and he's an active participant in that, which makes him kind of an interesting tragic character.
T's glasses also have a subliminal meaning within the story. He was given reflective sunglasses to create a cold, insectoid feel and to reinforce the chrome motif of the liquid metal killer.
Used both in Cyberdyne and Steel Mill, the staccato lighting subconsciously makes us feel uneasy and more subdued to the feel of danger.
Also, note the layer of atmospheric haze that is often added to the set to give it some character and depth. The level and density of the haze were added by a smoke and of machines in shorts bursts before each take and then fanned around.
The haze had to be maintained consistently from setup to setup. LIGHTING: Much of the flashing red and blue interactive lighting was not created on set with actual police lights but with individual red and blue lights aimed at manually rotated Mylar cubes on stands.
Red and blue light stand were added to create more chaos and visual panic. This scene was a demonstration of a Neo- Luddism at its most extreme.
Also, note the irony and message of the imagery - an advanced technology is destroying another advanced piece of technology with a very old and primitive tool known since the Neolithic period ending 4, to 2, BC, an axe.
Note that even in a shot when the T just stands, he still strikes a visually interesting action pose. John demonstrated the Gordian Knot principle of the leadership.
While Dyson still treats the terminator relics as sacred objects to be handled carefully, John cuts the chase and takes the fastest route to the objective.
James Cameron: "This is the Gordian Knot. Alexander the Great slashed the Gordian Knot with his sword, instead of trying to untie it". The real minigun fires 7.
Gary Rydstrom: "We recorded a real minigun and I would slow the tape down so you'd hear more articulation.. I added a lot of thunder cracks to it".
For example, T's shotgun sound was a sound of a shotgun specifically recorder being fired in a canyon. The Police Consulting firm not only served as technical advisors for the police procedures in the scene, but also led the police extras in performing them.
They worked with Cameron to realistically block out the action and the director would then choreograph the camera work to follow their movement through the building.
Randy Walker: Mr. Cameron would come up and say how many guys you would use to do this, we told him how we would do it, and he knew what he had to see on film, and he came back to us saying 'this is what I need to see' and we took it from there and tried to place the people where it would be advantageous for the camera while still making it tactically correct.
The SWAT team ends Dyson's life, who, unfortunately for him, had been caught in a non-negotiable situation. When SWAT slams the door open, they see a person surrounded by rigged barrels with enough material to instantly blow up the building and a guy standing there with a detonator in his hand.
In their mind, they had to strike the terrorist before he could press the button or realize what's going on. Although it is hard to recognize it, Dyson is holding a shattered piece of the prototype processor over the detonator switch.
The irony is intentional, that the technology that would destroy mankind is now playing a heavy role in saving it, and with the death of the man brings the destruction of his life's work T2 Illustrated Screenplay.
A terrific example of beautiful, dream-like and creative imagery and lightning. The walls of Cyberdyne during shootout were created by skimming the light off water source which was naturally off camera.
Evenly and lightly dispersed haze was also constantly present during the Cyberdyne scenes. James Cameron: "In order to get the light to project on the corridor [Adam Greenberg] is actually skipping it off the floor which is producing all those interesting reflections down the walls".
The light in Cyberdyne scenes is skimmed off the floor, creating amazing texture and liquid reflections on both the floor and walls.
Strong ambient light and haze adds to the moody visuals. The music itself also reflects the main character of the movie, using mostly sounds of machines and factory sounds.
Brad Fiedel: "I think part of the success of the T2 score was that I took into account and created things that bridged music with the sound effects It had a very strong percussion line it had a strong melody line.
We went for a very visceral energy". Fiedel experimented with a lot of different things, adding either a choir or orchestral-like music, or acoustic music, or even experimenting in creating new sounds.
For example, for one of the tracks he took a recording of a violin and brought it three octaves down, creating and eerie continuous sound accompanying the T in certain scenes.
Incredible attention to detail: IN some of the helicopter chase shots, you can see that the T has 4 hands, two to control the helicopter's joystick and cyclical, and two to fire and reload his MP5K machine pistol.
Naturally, Robert Patrick , or no one in a police suit, was ever in an actual flying helicopter, which was always piloted by Chuck Tamburro who also played the pilot who jumped out of the helicopter.
Patrick had been shot in a helicopter canopy which was hung on a crane, yet Cameron still wanted that technical and logical accuracy.
Gary Rydstrom: " We found a certain lion roar and we added that to the sound of the truck itself to make it much scarier.
You don't hear that there's a lion roar, you just hear something that maybe a primitive part of your brain tells you it's a scary sound.
Also, with the Harley, we actually snuck in some tiger sounds, just to give it some character". Even a shot of a rolling tanker is filled with great lighting and imagery.
Note the use of the backlight which created a dream like feel and an interesting rays of light. Since it was a very human moment for T, his damaged, mechanical side is in the shadow.
Also, the mechanical part is lit with cold blue, and the human side with warm colors. That symbolized the humanity that was prevailing in him at the time, and the moment when he truly became as close to the human character as possible.
It was a so called fire and ice motif, expanding on the theme of human and machine interfacing. James Cameron: "We always come up with motifs that would work well, for Arnold's character and a lot of stuff that we did in the steel mill was a mixed light between orange and blue, which worked very well, especially when the Terminator was sort of half human and half metal, you put the blue side there and the warm side there, you know, I sort of got into that human and machine interface".
Narrative unity: both Terminator movies had moments when the audience was sure that the villain is dead, and both had moments when they were hurt, giving the audience a hope that there is a chance they can be destroyed.
James Cameron: "The whole idea of the malfunctioning T I felt like I had to have something that was kind of equivalent of the first film when the Terminator was getting shot up, and losing parts and getting crushed but still a menace".
Also, notice another narrative rhyme with the first film. Both villains came out of the damaged truck, but notice the contrast of fire and ice.
While the first Terminator came out of fiery truck, this one comes out of fog of ice. James Cameron: "Here's something interesting.
We're shooting at 36 fps which is slight slow motion and Robert is walking really, really fast but it comes back to a kind of a normal gate but it has more power.
It's like every foot is coming down like a piston, and that's how we got that strange look on him". Also note the contrast of warm and cold colors.
According to James Cameron from his interview in , the use of only two colors, blue and orange symbolized the conflict between men and machines, humanity vs machinery, therefore the two colors used are orange warmth, humanity and blue coldness, machinery.
Once the T gets eliminated the blue palette disappears, leaving only an orange colors. There's a lot of brilliant cinematography in the steel mill.
For example, the steel grating was an excuse to do a lot of fantastic low angle lighting effects through the floor.
Many of the fight scenes were undercrancked at 16fps to 21fps to heighten the sense of impact between the two terminators. Also, note the use of the backlight.
James Cameron: All of the knowledge about how much punishment a Terminator can take now comes back but it's completely turned around, now it's pathos instead of terror that's created.
Another poetic and emotional twists: Sarah kills the T the same way she did in the first film, by pressing a button, although this time it's grief.
James Cameron: "She actually gets what she wished for initially, but now it breaks her heart as well which I think is really interesting.
There's so many reversals". Even when the future is saved, Sarah still remains a tragic character with a sad story.
She doesn't remarry and remains alone. She still loves Kyle and remains faithful to him, but she will never see him again.
The Kyle she knew exists only in her memories now. Novelization: She even hired someone to look for him, the alternate him, anyway, the one who, like the rest of the world, would be born and survive and never know that there had been, on one time line, a nuclear war and desperate battle for survival.
She called the investigator off the case and let it go. So she couldn't marry anyone. Or love another man as she did Kyle. The scene was cut for several reason.
The scene was too much of a contrast to the rest of the movie visually and narratively. The aged makeup on Linda Hamilton wasn't satisfactory for James Cameron either.