The Terminator franchise has become synonymous with mediocrity. Outside of a few notable exceptions, it’s composed of multiple bad films and an unfinished television show. Even Terminator: Dark Fate, though decent enough, failed to match the grimy, cyberpunk vibe of the original or the action-packed moments of T2: Judgment Day. So, it should come to no surprise that our expectations for Netflix’s Terminator Zero–another potentially lackluster iteration of a once-popular franchise–weren’t exactly high. As it turns out, this solid animated series not only respects the franchise’s legacy but also offers up a unique take on its established lore.
Despite being set in ’90s Japan, as opposed to the US, Terminator Zero still begins in the typical fashion. A Terminator is sent back in time to assassinate the scientist Malcolm Lee (voiced by Yuuya Uchida in Japanese and Andre Holland in English) before he can deploy Kokoro (Atsumi Tanezaki/Rosario Dawson). This rival to Skynet–the rogue AI system that’s all but wiped-out humanity in the year 2022–is scheduled to beat its global launch in 1997. Following suit is a tough-as-nails soldier named Eiko (Toa Yukinari/Sonoya Mizuno), who’s sent to the past in hopes of protecting Lee long enough to convince him that his plans will do more harm than good. It’s essentially what fans would expect from anything Terminator related; for better or worse, series creator Mattson Tomlin made sure Terminator Zero followed in its predecessors’ metallic footprints.
Terminator Zero’s first few episodes are somewhat formulaic. Thankfully, it doesn’t take long for the show to venture into new territory. This is the first time, for instance, that the notion of multiple timelines has been officially addressed–Terminator Genisys makes mention of a single, altered timeline but not about it splintering into different threads. What’s interesting about this is that it doesn’t negate prior events. Rather, Zero alludes to the events that caused the franchise’s time paradoxes in a way that respects whatever impact they may have had on Terminator lore. It’s a clever bit of writing that helps to elevate the show’s canonical relevance while adding weight to Eiko’s initial plight. Her choice to venture back to the past, after learning that she’ll never return to the present, is as heartbreaking as it is commendable.
Terminator Zero does a great job exploring the merits of traveling to the past, how misguided the humans (and machines) are in their efforts to change an established future, and why the rise of Skynet always seemed like an inevitable outcome. It also showcases interesting themes concerning familial ties and what it means to be truly sentient. The show does slip up whenever it follows the Terminator blueprint a little too closely; it just had to include its own time paradox/plot hole. That said, it’s Terminator Zero’s oppressively somber tone that really sets it apart. Eiko’s war torn future is bleak. The past isn’t much better considering it’s one major calamity away from a seemingly worse fate. There’s also the lingering threat of the titular assassin, a problem that Eiko and company are ill-prepared for.
While there are a few shootouts and a ton of collateral damage, the emphasis is placed on the Terminator’s methodical and often brutal approach to fighting. Skulls are crushed, spines are snapped, and limbs are torn from bodies. Things get considerably worse when it decides to grab a weapon; since there aren’t many firearms to commandeer in Japan beyond those used by law enforcement, the Terminator makes effective use of a modified crossbow.
The Terminator’s imposing presence and Zero’s gloomy atmosphere harks back to James Cameron’s original film in how it makes use of the more thrilling and in some cases, horror-based elements of its plot. There’s gritty realism in lieu of grand spectacle, which makes the show’s hopeful moments feel earned. It’s easy to root for the humans and their allies after witnessing the hell they’re put through–and thanks to good voice acting and some well-written dialogue.
Both Terminator Zero’s American and Japanese cast are great, with marginal differences in their performances during a given scene. Dawson sounds great as the AI Kokoro, even though she brings a warmth to the role that sometimes betrays the robotic nature of her character. Yukinari’s passionate portrayal of Eiko stands out more in dire moments when compared to Mizu. Really, it all comes down to preference; aside from delayed text when using subtitles, an issue that could be attributed to Netflix itself, there’s no “wrong” choice when it comes to the voice acting.
Terminator Zero’s animation doesn’t always fare as well. Most of the time it looks good, with strong line work and a muted color palette that echoes the show’s overarching sense of dread. There are times, however, where the frame rate seems to shift. The animation becomes janky and characters stutter about instead of moving fluidly. This works with the Terminator considering he’s a cyborg, but it can be very off-putting for the humans.
Terminator Zero is an entertaining animated series that shines brightest when it leans into new areas. It features a talented cast, an engaging plot, and solid animation that occasionally dips in quality. The show also gives valid explanations for the time paradoxes (or in some cases, plot holes) found in the Terminator films. It does have a few sticking points, namely in its reluctance to shake franchise staples; not every story has to start the exact same way. And while it does do a great job of course correcting past films, it does trip up by introducing its own time paradox. Still, Terminator Zero proves that there are some new places for the franchise to go beyond stories connected to Sarah Connor.
