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According to Nielson Soundscan Michael Jackson albums and Jackson related compilations hold the top nine positions on Billboard's Top Pop Catalog chart,all posting remarkable jumps in sales in the days following the singer's death. Jackson himself holds a record eight of the top 10 spots, while a Jackson 5 compilation also landed in the upper tier of the chart. His Number Ones greatest hits package leads the pack at #1, selling more than 108,000 copies, a staggering 2,340 percent sales increase. The Essential Michael Jackson and Thriller follow at #2 and #3, selling more than 102,000 and 101,000 copies, respectively.
His breakthrough Off the Wallalbum is at #4, selling more than 33,000 copies nearly 30 years after it was initially released. The Jackson 5's Ultimate Collection is next at #5, with sales of more than 18,000 copies. His 1987 Bad album returns at #6 (17,000 sold);Dangerous is at #7 (14,000); HIStory — Volume 1 is at #8 (12,000); and the 2004 Jackson box set, The Ultimate Collection, lands at #9 (11,000).
The lone non-Jackson album in the top 10 is a reissue of the "Woodstock" movie soundtrack, which sold 8,000 copies to snag the #10 spot.
All in all, Jackson's solo albums sold more than 415,000 copies this past week, according to SoundScan, an amazing number, considering his titles sold a combined 10,000 copies in the week prior to his death. The one-week total is also nearly 40 percent more than what his catalog had sold in all of 2009.
Of the 415,000 albums sold, 58 percent were digital downloads, which means Jackson has set another record: He's the first artist to hold six of the top 10 slots on the Digital Albums chart, including the top four spots. He also holds a staggering 25 songs on Billboard's Hot Digital Songs chart, smashing a record set by David Cook last year.
Early SoundScan reports have the Black Eyed Peas' The E.N.D. claiming the top spot on next week's Billboard's Top 200, with sales of more than 88,000 copies. If that figure holds true, this week marks the first time that a catalog album has sold more copies than the album that sits at #1 on the Top 200.
McG, whose segue from music vids to movies resulted in two "Charlie's Angels" extravaganzas and the woeful "We Are Marshall," exhibits an unexpected flair for the dreadful, abrupt and awesome. What we get here -- which was perhaps missing on the relatively sunny mental landscapes of "Terminator 2: Judgment Day" and "Terminator 3: Rise of the Machines" -- is a sense of real horror: When humans are snatched up like Cheez-Doodles by skyscraper-sized Go-bots, there's no slo-mo relief or stalling. Stuff happens as it might were the world actually overtaken by demonic appliances.
Christian Bale, playing the "prophesized leader of the Resistance" John Connor, may have traded in the Batman body armor for "Road Warrior"-style outerwear, but one thing hasn't changed: He is, once again, a movie star playing second fiddle. Heath Ledger stole "The Dark Knight" away from him and Sam Worthington (who will appear in Cameron's "Avatar" this Christmas) heists "Terminator Salvation" from Bale, for the most ironical of reasons: In a movie that poses man against machine, Worthington's cyborg is the far more human character.
As a steel-beaded logo of Warner Bros. fades away, Marcus (Worthington), on death row for an unexplained crime, gets an 11th-hour visit from Dr. Serena Kogan (Helena Bonham Carter), who wears the headscarf and pallor of a terminal cancer patient. She wants Marcus' body -- literally. She wants to turn him into a cyborg.
Wracked with guilt, resigned to his execution, Marcus agrees to sign the release in exchange for a kiss. "So that's what death tastes like," he says, as she leaves him to his lethal injection.
This is not your governator's "Terminator."
Bale, meanwhile, playing the adult version of the hero-to-be portrayed by Edward Furlong ("Terminator 2) and Nick Stahl ("Terminator 3"), is as purposeful and furious as anyone played by Arnold Schwarzenegger or Robert Patrick. One suspects he's been studying Linda Hamilton in "Terminator 2," although -- let's face it -- this is serious business. It's 2018. Skynet -- the "aware" machine -- has all but accomplished its self-appointed mission of destroying the threat of people.
But pockets of rebellion continue to operate even if, as in the case of a charred and rubble-strewn Los Angeles, the local contingent consists of just two kids: Kyle Reese (Anton Yelchin) and the mute/cute Star (Jadagrace).
Kyle -- given a slightly geeky and perfectly plausible portrayal by Yelchin ("Star Trek") -- will grow up to father John Connor after being sent into the past to meet Sarah Connor (if you haven't followed the "Terminator" time line, this is no time to be catching up).
Thus, he has to be preserved. So does John, given that it's been predicted since 1984 that he'll be the one to save the world. There's a lot at stake.
McG's direction is always intelligent. (He does seem to have a thing for "The Great Escape," which is referenced several times.) The script by John Brancato and Michael Ferris occasionally goes off the rails. Certainly, their insertion of an existential dilemma for Marcus -- "I need to find out who did this to me," he says, his chrome-plated plumbing having been exposed to the open air -- feels very late-inning.
And the obligatory borrowing from the previous movies ("Come with me if you want to live," "I'll be back ...") tend to upset the mood created within McG's bleached-out world, which is very deliberate and doesn't need the comic relief.
There are great bits though: The thrashing, centipede-like, killer-snake thingie, which has the personality of a wolverine, is a neat invention. So are the biker Terminators, which molt like malignant pinecones off their towering mother �bot. A Schwarzenegger lookalike -- it isn't clear whether it's the ex-actor CGI'd or a complete fabrication -- is funny, but in this case apt.