6.1 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
An epileptic computer programmer undergoes a surgical procedure in which electrodes are planted in his brain and a miniature computer is inserted into his chest. Rather than curing him, though, the malfunctioning electrodes render him dangerous and violent.
Starring: George Segal, Joan Hackett, Richard Dysart, Donald Moffat, Jill ClayburghThriller | Insignificant |
Sci-Fi | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
Movie | 2.5 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 1.0 | |
Overall | 3.5 |
Joining the race of “thoughtful” sci-fi/fantasy/horror filmmaking is 1974’s “The Terminal Man,” with Hollywood looking to do something with Michael Crichton’s literary offerings after the success of 1971’s “The Andromeda Strain.” Mike Hodges (“Get Carter,” “Flash Gordon”) accepts the challenge of the adaptation, with the writer/director tasked with making something cinematic from a book that’s largely about scientific study. Hodges tries to transform the page into a visual experience, but the material doesn’t exactly welcome tension, finding most of the endeavor static, attempting to find some profundity in the examination of man’s tinkering in the ways of computer science. And there’s a critical miscasting holding the movie back, with George Segal, a wonderful actor, provided a part he doesn’t really know what to do with, forcing Hodges to work around him at times. “The Terminal Man” has the makings for a thriller, but nothing materializes during the run time, resulting in a glacial study of a scientific breakthrough, medical hubris, and the broken genius at the center of it all.
The AVC encoded image (1.85:1 aspect ratio) presentation provides an enjoyable view of "The Terminal Man" and its strange ways. Detail is soft but satisfactory, securing some skin particulars on the cast and fibrousness of costuming, which mostly remains with thicker hospital outfits and formalwear. Medical and computer devices retain texture. Interiors are dimensional as the story visits living spaces and hospital rooms, and exteriors, while limited for a mostly indoor picture, are deep, exploring cemetery expanse and tunnels. Colors seem accurate, preserving the coldness of doctor activity and hospital life. Warmer hues are used intentionally, with brighter primaries on red roses and decorative additions. Skin tones are natural. Delineation is acceptable, preserving some shadow play and evening attire. Grain is capably resolved. Source is in good condition.
The 2.0 DTS-HD MA mix retains the rather straightforward sound design of the feature. Dialogue exchanges are clear, losing nothing to unintelligibility, and moments of rage remain balanced. Scoring favors a delicate piano-based sound, with crisp instrumentation and support. Sound effects are active, exploring computer actions and surgical details. Helicopter intensity is retained, along with crowd bustle.
Segal attempts to give Harry gravitas and mystery, but the role is out of his range, unable to conjure credible menace that Hodges needs to help locate an ending. The actor's reactions and chimp-like sounds in "The Terminal Man" border on unintentional comedy as Harry is stung by his electrodes, resembling the "Orgasm Guy" from an old "Saturday Night Live" sketch. Segal can't reach what Hodges is looking to achieve with the picture, but he's backed by a capable supporting cast who are more suited for their parts, hitting some dramatic highs along the way. "The Terminal Man" eventually crawls to closure, stuck somewhere between an attempt to realize Crichton's lively imagination and retain Hodge's desire for a more challenging viewing experience, leaving the audience with a study of a breakdown that never gets out of first gear.
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