The title, Arnold’s casting and dialogue, the gun-shop scene, supporting actors, synth score, romance, practical effects, and the unkillable-villain structure
The two-word title is praised as perfect, direct, sequel-friendly 1980s naming.
Arnold as a robot is called A-plus casting, and the gun-shop inventory scene turns his delivery, scale, and Dick Miller’s salesmanship into repeat-viewing pleasure.
Bill Paxton’s brief punk appearance, including his distinction as a Terminator/Alien/Predator victim, is a treasured cameo.
Arnold’s pronunciation of Sarah Connor, Lance Henriksen and Paul Winfield’s overqualified cops, and Cameron’s dark Los Angeles atmosphere remain distinctive.
“Fuck you, asshole,” the address demand, and especially Cameron refusing Arnold’s requested “I will be back” rewrite preserve his signature vocal comedy.
Brad Fiedel’s synth pulse is picked as an enduring musical trigger despite its inexpensive-sounding era-specific tools.
Kyle’s claim that he crossed time for Sarah gives the romance enormous stakes, while the explicit hotel scene remains narratively essential because it conceives John Connor.
Stan Winston’s practical effects and Arnold’s effortless disposal of a visibly strong Rick Rossovich sustain the machine’s threat.
