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Why do you think it is impossible to create good Terminator and Predator sequels past part 2 (I stand firm that predator 2 is underappreciated)
It takes a lot of skill to create tension, in general.
T1 there was the whole "this is an implacable, nigh-invulnerable killing machine that is programmed to kill YOU, specifically. And your only defense is a squishy standard human."
T2 had that, PLUS the target was a child, who now had to befriend his own implacable, nigh-invulnerable killing machine.
Repeating the formula starts to break that tension, even if you ostensibly escalate with a bigger, badder robot.
Similar with Predator. You can keep iterating "now they're in the 1700s. Now they're in Japan. Now its an alien planet and there's 10 preds." But how do you get audiences to buy in a third, fourth, fifth time?
And the Alien series. "Oh man one of these things was terrifying. How about HUNDREDS of them?"
Where to do you go from there without being derivative?
I think this has also hurt the John Wick films. By the third, we know he's going to be pull his suit up to cover his head and will never take a serious wound during an action sequence.
By 4 he's surviving MULTIPLE 30 foot drops.
Its still great action, I still like the films, but the appeal in the first was that he did seem vulnerable.
Its should, I think, sometimes be easy to say that you can capture "lightning in a bottle" only 2-3 times and unless you're a generational talent at filmmaking, things will inherently get formulaic if you keep trying to recreate that success.
Hilariously, Predator was created in the first place due to this.
https://en.wikipedia.org/wiki/Jim_and_John_Thomas
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With regards to Terminator, every time travel story ultimately has to take a firm philosophical position on whether the past is mutable or not. The original The Terminator was an enclosed, self-contained story which took the stance that the past was immutable: the ending reveals the entire story to have been a stable time loop. Terminator 2 set out to surprise audiences at every turn (oh my God, Arnie is the good guy this time!) which extended all the way to its ending and its reveal that, in stark contrast to the original movie, the past is mutable. The film ends on a note of optimistic uncertainty, with the protagonists' actions appearing to have averted the future apocalypse for good. This was made even more explicit in the original scripted ending which depicts Sarah, John and Sarah's grandchildren in an idyllic future Los Angeles, which was thankfully cut for being too sappy, on-the-nose and tonally dissonant with the rest of the film. (James Cameron has a recurrent problem with indulging his inner Spielberg and wanting to end his films on a corny sentimental note, only for cooler heads to prevail in the editing suite and instead opting for something more ambiguous and restrained.)
Not having seen any of the sequels following the first two, all my knowledge of them is secondhand, but my understanding is that every subsequent sequel has set out to follow the example set by Terminator 2 and have its philosophical attitude to the mutability of the past directly contradict the attitude espoused by the previous film. This leads to an interminable game of "the past is immutable – no it isn't – yes it is — no it isn't – is – isn't". With a binary question, the number of times you can surprise audiences by changing the answer is exactly one. When Terminator 3 revealed that Judgement Day was still going to happen, audiences didn't find this exactly as shocking as Terminator 2's implication that Judgement Day could be decisively averted; rather, it registered as a regression to the original film's status quo. In spite of Cameron's strenuous efforts to reinvent the entire franchise from the ground up with Terminator 2, by the end of Terminator 3 the franchise was back almost exactly where it started. Eventually audiences just got sick of being jerked around and lost interest: no permanence, no stakes.
Another reason might be a bit more mundane. The Terminator made the most of its limited budget, but some of its visual effects looked pretty ropey even at the time. Half of the appeal of Terminator 2 was getting to see a story very similar to the original (indeed, the plot beats and structure are so similar that in some ways it's more like a remake than a sequel), but with an expanded budget and VFX wizardry. The visual effects of Terminator 2 were mind-blowing on release and have aged incredibly well. But you quickly run into the law of diminishing returns: while I'm sure the visual effects in the subsequent sequels were marginally superior to those of Terminator 2, they could never hope to match the quantum-leap sensation of the transition from The Terminator to Terminator 2. "Come see the Terminator, with visual effects that will blow your mind" is an easy sell, unlike "come see the Terminator, with visual effects very slightly improved over previous Terminator films".
See also the Matrix Trilogy.
They did their damndest to keep the visuals impressive and upping the ante thanks to unlimited budget. And sort of succeeded but also sucked the actual heart and soul out in the process.
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Much of this is because they were used so brilliantly. A killer machine made out of liquid metal doesn't have to look realistic as long as it looks cool and plausible. I believe they only used fancy CGI for the FX that look like FX (ie. time travel, T-1000 morphing, terminator vision) and did most of the rest with traditional techniques where the viewers are going to be much more critical about realism compared to what was achievable with CGI at the time. Contrast this with Jurassic Park where the dinosaurs look almost like upscaled rubber toys because it turns out that people have a whole lot more practical experience of how real animals move compared to killer robots.
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