The Terminal Man
The Terminal Man

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- 56/100 based on 2,406 votes

As the result of a head injury, brilliant computer scientist Harry Benson begins to experience violent seizures. In an attempt to control the seizures, Benson undergoes a new surgical procedure in which a microcomputer is inserted into his brain. The procedure is not entirely successful.... (Full plot summary below)

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Actors in The Terminal Man:

George Segal
Joan Hackett
Richard Dysart
Donald Moffat
Michael C. Gwynne
William Hansen

Full Plot Details

As the result of a head injury, brilliant computer scientist Harry Benson begins to experience violent seizures. In an attempt to control the seizures, Benson undergoes a new surgical procedure in which a microcomputer is inserted into his brain. The procedure is not entirely successful.

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Movie Reviews

Village Voice - 6/10 by Molly HaskellAn aimless and unexciting science-fiction story about a computer scientist, Segal, who undergoes brain surgery and is transformed into a maniacal murderer.
MovieMartyr.com - 4/10 by Jeremy HeilmanBy the time The Terminal Man reaches its tragic ending, it has succeeded in the dubious achievement of making us view its subject as dispassionately as any clinician.
io9.com - 4/10 by Charlie Jane AndersThe Terminal Man is one of those quiet, slow-moving masterpieces of early 1970s science fiction... and then you get to a totally horrific, violent scene.
New York Times - 3/10 by Nora SayreThe 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.
User Review - 10/10 by Trinity CUnderrated classic by Get Carter director Mike Hodges. Deserve to get a tidy DVD release.
User Review - 8/10 by Krystal Si really like these early chrichton screenplays & the way he manages to extract tension from laborious scientific processes.
User Review - 7/10 by jamessThis adaptation of the early Michael Crichton novel arrived at a time when the late author's work was just starting to gain serious attention, be it from his novels and/or his directing. The Andromeda Strain and Westworld being the prime examples. This is Crichton's take on the Frankenstein story. Science creating a monster. And similar themes that he'll explore time and time again appear from the medical communities God complex to the dangers of artificial intelligence. By today's standards it's pretty tame for a thriller, but taken as an art film disguised as a thriller, it's very interesting. I could easily imagine this as an A24 release if made nowadays. The director Mike Hodges, films everything in shades of black, white, and grey. Even the comic book the officer guarding the room is reading is black and white. The only color that stands out is the blood that flows from a victims body. And the score, as brief as the segments are, are friggin Glenn Gould playing a classical piece. Plotwise, it's a team of doctors trying an experimental procedure to cure a patient of violent blackout seizures. They implaint electrodes in their brain to counteract the seizures. Of course, things go wrong. Like a lab rat hitting the same lever over and over to receive a treat, the patient involuntarily induces seizures to receive stimulation, only to overload and induce a trance like violent seizure. The cast includes George Segal as Harry Benson, who is introduced, by a series of photos, as a loving family man reduced to a ghost of his former self. The casting of jovial Segal as a man seemingly barely hanging on makes us care for him. He is matched by Joan Hackett, a much underrated actress from the 70's, as his psychiatrist. And almost a decade before John Carpenter's The Thing, Donald Moffat and Richard Dysart are part of the medical team, with Dysart representing the arrogance and hubris of the medical community. And Hodges does not think highly of the police. The movie opens with a police helicopter taking off, and ends with the apparent same helicopter landing that acts as bookends to what has happened. The police are portrayed as morons (there's a nice moment when an officer checks a hospital room and stops to fix himself in the mirror admiring just a moment too long) who shoot first and you know the rest. There's also the shots of the eye looking through a peephole towards the audience with the disembodied voice saying "you'll be good now" and "you're next". So a lot going on in a seemingly little movie that deserves a second, or very likely a first look.
User Review - 6/10 by Anthony VNot as good as the book, but does have a few moments here and there.
User Review - 6/10 by Allan COkay bit of science fiction from writer Michael Crichton and director/screenwriter Mike Hodges. The story follows George Segal as a man who suffers epileptic blackouts and remember nothing afterwards To cure his condition, he tries an experimental surgery than implants microcomputers in her brain, but that leads to paranoia regarding mind control and a descent into madness. The film and story certainly had potential, but Hodges stark and austere approach to the characters, story, and visuals, has the effect of distancing the audience from the characters. Compared to something like "Repulsion" or "Rosemary's Baby," where the audience descends into uncomfortable madness right along with the character, this film film instead has a clinical distance from it's characters and the film suffers for it. Still, it's an interesting idea and Hodges direction is visually striking (it reminded me a lot of George Lucas' "THX 1138"), which makes this film worth checking out for fans of 1970s sci-fi. Hackett, Richard Dysart, Donald Moffat, Jill Clayburgh, Matt Clark, and Victor Argo (briefly as an overly) also appear in the film. And an interesting side note, even if I don't really agree with it, this film was a favorite of Stanley Kubrick.
User Review - 4/10 by Cassandra MAnother oddity in the peculiar Get Carter and Flash Gordon-encompassing career of Mike Hodges, here helming a faithful (read slow!) adaptation of a Michael Crichton medical sci-fi thriller. Hodges does such a great job of visually expressing the theme of depersonalisation and dehumanisation that the end result is strangely sterile and uninvolving.

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