The Terminal Man

Hodges takes a cool, detached approach, designing most scenes in monochrome with disturbing flesh-colours, and manages to make Segal's semi-android a strangely sympathetic monster. Read full review

Opening with a brilliant sequence in which Segal is reborn on the operating table, and building towards a finale in which the scientists realise that they can do nothing to control this hi-tech monster of their own making, the film's bleak futuristic vision also benefits greatly from some extraordinary sets, and from writer/producer/director Hodges' confident direction. Read full review

I'm not sure I can accept these chilling extremes of "sick" and "well," but Mike Hodges renders them with some of the same grim beauty and sense of absurdity he brought to Get Carter. [17 Jun 1974, p.82]

An aimless and unexciting science-fiction story about a computer scientist, Segal, who undergoes brain surgery and is transformed into a maniacal murderer. Read full review

The picture moves as slowly as a glacier—an image that's reinforced by the repetitive shots of long, white hospital corridors, white bathrooms and home décor—in fact, it's a white-on-white movie. There's no suspense; the only frightening moments occur when you fear it may last forever, especially during the seemingly endless operation and an interminable manhunt. Read full review

Even George Segal gone bananas, courtesy of an out-of-whack computer in his head, chopping a lady and her waterbed into slow-motion streams of diluted blood that makes pretty patterns on white tiles, doesn't alleviate the excruciating boredom and intermittent nausea produced by The Terminal Man. [24 Jun 1974, p.59]

One of those errors-of-science thrillers; it's an even worse error of moviemaking.