Cinematic comedy can be considered the oldest film genre (and one of the most prolific and popular). Comedy was ideal for the early silent films, as it was dependent on visual action and physical humor rather than sound. Slapstick, one of the earliest forms of comedy, poked fun at farcical situations of physical mishap and indignity, usually in pratfalls, practical jokes, accidents, acrobatic death-defying stunts, water soakings, or wild chase scenes with trains and cars. [Burlesque is another form of early comedy, characterized by unrefined and broad humor, designed to produce ridicule.] Pioneers in the early days of silent cinema and film-making, the Lumiere Brothers, included a short comedy film in their very first public screening in 1895 titled Watering the Gardener or “The Sprinkler Sprinkled” (L’Arroseur Arrose). Its predictable subject matter included a man with a garden watering hose who was tricked into being soaked by a prankster child.
The major hallmark of Sennett’s career work was inventive, visual, improvised comedy displayed in short silent films that moved frantically. His early short comedies featured wild slapstick chase finales, visual gags and stunts, and speedy, zany action. The action appeared all the more frantic and frenzied by his use of a filming technique whereby he shot the pictures at a slow camera speed, and then accelerated the frames in the projector during playback. He often cast vaudevillian, burlesque, and circus performers in his films. Those with exaggerated or grotesque looks (obese, cross-eyed, lanky, leering, pop-eyed, etc.) were chosen to add to the unreality of the situations. His most popular pictures involved his bumbling comedy policemen, the Keystone Cops. There would be flying pies, bricks, careening vehicles with people hanging off, crashes, and other dangerous-looking stunts. Cinema’s first custard-pie-in-the-face was in Sennett’s silent film comedy A Noise From the Deep (1913), in which comedian Mabel Normand, a farmgirl threw a pie into the kisser of obese farmhand Roscoe “Fatty” Arbuckle.

The Terminator is a blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story.

The clever script, cowritten by director James Cameron and producer Gale Anne Hurd, opens in a post-holocaust nightmare, A.D.2029, where brainy machines have crushed most of the human populace. From that point, Arnold Schwarzenegger as the cyborg Terminator is sent back to the present to assassinate a young woman named Sarah Connor (Linda Hamilton) who is, in the context of a soon-to-be-born son and the nuclear war to come, the mother of mankind’s salvation.
A human survivor in that black future (Michael Biehn), also drops into 1984 to stop the Terminator and save the woman and the future. The shotgun-wielding Schwarzenegger is perfectly cast in a machine-like portrayal that requires only a few lines of dialog.