7 (This is a ponderous, marvelously built-looking quality [complete with ferrous clanks and/or pneumatic hisses] that—oddly enough—at roughly the same time also distinguished the special effects in Terry Gilliam’s Brazil and Paul Verhoeven’s RoboCop. This was cool not only because the effects were themselves cool, but also because here were three talented young tech-minded directors who rejected the airy, hygienic look of Spielberg’s and Lucas’s F/X. The grimy density and preponderance of metal in Cameron’s effects suggest that he’s looking all the way back to Méliès and Lang for visual inspiration.)