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Homicides incontrôlés

Titre original : The Terminal Man
  • 1974
  • 16
  • 1h 44min
NOTE IMDb
5,6/10
2,8 k
MA NOTE
Homicides incontrôlés (1974)
Official Trailer
Lire trailer3:03
1 Video
21 photos
HorrorSci-FiThriller

Ajouter une intrigue dans votre langueHoping to cure his blackout seizures which turn him temporarily extremely violent, a computer scientist agrees to an experimental brain computer chip implant surgery.Hoping to cure his blackout seizures which turn him temporarily extremely violent, a computer scientist agrees to an experimental brain computer chip implant surgery.Hoping to cure his blackout seizures which turn him temporarily extremely violent, a computer scientist agrees to an experimental brain computer chip implant surgery.

  • Réalisation
    • Mike Hodges
  • Scénario
    • Michael Crichton
    • Mike Hodges
  • Casting principal
    • George Segal
    • Joan Hackett
    • Richard Dysart
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    5,6/10
    2,8 k
    MA NOTE
    • Réalisation
      • Mike Hodges
    • Scénario
      • Michael Crichton
      • Mike Hodges
    • Casting principal
      • George Segal
      • Joan Hackett
      • Richard Dysart
    • 45avis d'utilisateurs
    • 56avis des critiques
    • 41Métascore
  • Voir les informations de production sur IMDbPro
  • Vidéos1

    The Terminal Man
    Trailer 3:03
    The Terminal Man

    Photos21

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    Rôles principaux40

    Modifier
    George Segal
    George Segal
    • Harry Benson
    Joan Hackett
    Joan Hackett
    • Dr. Janet Ross
    Richard Dysart
    Richard Dysart
    • Dr. John Ellis
    • (as Richard A. Dysart)
    Donald Moffat
    Donald Moffat
    • Dr. Arthur McPherson
    Michael C. Gwynne
    Michael C. Gwynne
    • Dr. Robert Morris
    William Hansen
    William Hansen
    • Dr. Ezra Manon
    Jill Clayburgh
    Jill Clayburgh
    • Angela Black
    Norman Burton
    Norman Burton
    • Det. Capt. Anders
    • (as Normann Burton)
    James Sikking
    James Sikking
    • Ralph Friedman
    Matt Clark
    Matt Clark
    • Gerhard
    Jim Antonio
    Jim Antonio
    • Richards
    Gene Borkan
    • Benson's Guard
    Burke Byrnes
    • Benson's Guard
    Jordan Rhodes
    Jordan Rhodes
    • Questioner No. 1
    Dee Carroll
    Dee Carroll
    • Night Nurse
    Jason Wingreen
    Jason Wingreen
    • Instructor
    Steve Kanaly
    Steve Kanaly
    • Edmonds
    Al Checco
    Al Checco
    • Farley
    • Réalisation
      • Mike Hodges
    • Scénario
      • Michael Crichton
      • Mike Hodges
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs45

    5,62.7K
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    Avis à la une

    5AaronCapenBanner

    Haywire & Empty Thriller.

    Based on the Michael Crichton novel, this adaptation(directed by "Get Carter" Mike Hodges) tells the story of computer programmer Harry Benson, who, in an attempt to cure his brain seizures, agrees to an experiment where he has micro-computers implanted in his brain, in order to correct the faulty brain chemistry. Things don't go as planned when his new mind starts to get pleasure from the violent impulses he now feels, and so escapes from the hospital, starting a desperate manhunt to prevent him from murdering anyone, and of course to cover-up the scientific failure.

    George Segal is believable as Harry, and the rest of the cast is fine, and though Mike Hodges tries, this film is simply too dreary and downbeat to succeed, and by the end, there doesn't seem to have been any discernible point to it all.
    6bgaiv

    NOT a thriller, but pretty good as long as you know what to expect

    This movie has a unique tone that's hard to define. "Bleak" comes to mind but is inadequate. It's as if Bleak came alive and made an even bleaker movie.

    That's one thing you need to know going in. The other is not that it's slow, but that it spends a ridiculous amount of time on the fictitious surgery. For example, the doctor almost hits a vein in the patient's brain which would have killed him. However, a surgical mistake can happen in any sort of surgery and this lengthy bit doesn't address the far more interesting ethical issues.

    This is in contrast to The Andromeda Strain. In that film, there are enormously detailed and lengthy scenes of the Wildfire lab. But the difference is that movie was more about the scientists and the lab than the germ itself. Here, that's just not the case.

    There's other parts of the film that provide a weird atmosphere yet seem entirely irrelevant. The doctor goes to a strip club to find Segal and while I like the music played, it's hard to see why this is here considering it's mostly focused on the stripper stage.

    The far more interesting issues are of course the ethical ones.

    The treatment they give this man is directly compared to lobotomies, a very dark page of medical history. After they install the device, they start activating different electrodes to see what happens... this isn't that much different than the lobotomy performed on Rosemary Kennedy where they kept cutting while talking to her to see the effects. It's incredibly chilling and plausible.

    A curiosity here is that there is essentially an ad for Scientology on the radio in the background in one scene. This makes sense considering their disdain for psychiatry which was rather well founded at least at the time.

    There's frustration here in that one huge theme seems to have been all but ignored-- that the patient was convinced computers would take over. I suppose the idea might have been that Segal was increasingly acting robotic... in several scenes when he's walking he does seem like a mindless drone. But I just saw him as a zonked out zombie and zombies are standard horror fare. It didn't occur to me that that might have been the idea until I was writing this review.

    Anyway, it's a fascinating watch as long as you know what you're getting into. It's definitely NOT a thriller. There are many striking visuals, like a long curious zoom on a parrot.
    wilbrifar

    Slow?! Try a little patience.

    I was looking for a bit of trivia about this film and made the mistake of reading the reviews here. My jaw dropped when I saw the overwhelming opinion that this movie is worthless because it's too slow. Has everyone been too brain-deadened by recent Hollywood thrill rides to appreciate a patiently unfolding story? The Terminal Man is very creepy, very scary, and is acted with amazing skill by even the smallest of bit players. Each one of the doctors involved in the experiment, for example, carries his or her own personal baggage, and it's that baggage which clouds their reason and makes true progress impossible. The message of the film seems to be that no matter how advanced science becomes, people will still be people, and our petty prides and jealousies will tear down every accomplishment. That's the brilliance of this movie; it takes a broad sci-fi theme yet reduces it to its most unpredictable element: the personalities of the persons involved. There are so many amazing scenes in this film where a line or two of casual conversation reveals so much about the power games being played between the speakers. On the outside, these scientists are titans of technology; on the inside, they're closer to the befuddled old men of the comedy "BALL OF FIRE". The only one who thinks with heart as well as head is the Joan Hackett character, and the clash between her and the good 'ol boys of science is both profound and heartbreaking.

    I urge anyone with an IQ larger than their shoe size to ignore the negative comments and give this film a chance. Viewed with an open mind and a little patience, this movie becomes quite an exiting experience. It's one of the greatest sci-fi/horror films of all time, and has never gotten its due respect. It's the kind of film we could use more of, and the fact it's considered boring by today's audiences is very sad proof of the dumbing-down effect of Hollywood clap-trap. We're used to movies that ask you to set back while you're force-fed the story. The Terminal Man requires that you watch what's happening, listen to what's being said, and think about what's between the lines. If you can't do that, stick with Vin Diesel films.
    9spence100

    Brilliant - you could hang every shot on your wall

    Sadly, I first saw this movie as I was chopping time from it so that the Sci-Fi channel could run an 88 minute movie in a 2 hour slot. I hadn't seen it or heard of it before that, and I was completely blown away. It was menacing, threatening and extremely sad. I found the 'slow' pacing quite beautiful, and I loved the way that the colour within each scene slowly built as the movie progressed. Compare the monochromatic open to the closing cemetery scene. Colour comes as his life slips away. Beautiful. Favourite scenes: the helicopter taking off at the very beginning; Dr. Ross lying asleep on her bed, in her amazing 70's house, in that fabulous dress; Harry standing in the tunnel waiting for his ride from Angela. Do not judge this movie by today's standards. Open your mind, be patient, and pray that electrodes 31 & 32 may one day run your life! If, like me, you have seen and liked Andreas Gursky's photographs, you'll like this film.
    bulk-15

    Time capsule of 70s science

    Although this movie is weak as a 'thriller', its real power is its evocative sense of place and the emotional texture of science as it was seen in the 1970s -- sombre and dystopian, yet strangely attractive.

    The plot centres on a group of scientists and doctors who are pushing the frontiers of neuroscience by implanting a computerized chip in the brain of a man (George Segal) afflicted with terrible seizures. The chip is programmed to shock the patient's brain each time a seizure is about to happen. The effort is prestigious, the technology flawless, and the doctors, scientists and technicians react to the initial success of the project with a certain conceited arrogance. Only when the the chip malfunctions, and the patient breaks out of the hospital and starts killing people, does the veneer of omnipotence and professionalism fall away, revealing in the scientists ambition, uncertainty, and humanity.

    Segal does a good job of portraying the wildly changing emotions of a man who's mind is under the control of a computer. At the push of a button he can be made to laugh, cry, scream, babble like a child, or even become aroused, as the computer chip in his brain explores his mental map. It's a study that would be interesting to fans of Oliver Sacks.

    The most interesting moments of the movie are the early ones, where the patient interacts with his dispassionate doctors in the sterile, streamlined chromium world of the hospital. The doctors and scientists seem like mechanical, perfected reflections of the technologies that surround them. The messy humanity of the patient, demonstrated through humour, fear, weakness and anger, stands in contrast to his surroundings, and it is not surprising to the audience when he disappears from his hospital room.

    Scenes of the doctors in tuxedos and evening gowns at a dinner party while a shiny computer console monitors their ailing patient lend the robotic professionals a strange, formal humanity, at the same moment in the movie when their own fallibility begins to be revealed. Both technology and technologists promise perfection, and in the end both are revealed as imperfect and unable to overcome the challenges of the human condition - sickness, insanity, violence and death.

    Once the patient leaves the hospital, the movie shifts to a more conventional 'crazed murderer' theme, and things become less interesting. It is this shift that cripples Terminal Man and prevents it from being the science fiction classic it might have been. The movie closes with a disappointing, clichéd 'Big Brother' riff on mind control and the future.

    This is still a movie worth watching, however, if only to get a glimpse of how the 1970s saw the near future. There are endless details for the technophile, from absurdly technological architecture to atomic batteries to ancient video terminals to mainframe computers to futuristic touchtone telephones. The technological landscape is presented with a glistening newness that evokes movies like The Anderson Tapes, Coma, Westworld, and The Andromeda Strain (the last three of which, like Terminal Man, were written by Michael Crichton). The set design and the soundtrack (mostly Bach, No. 25 in the Goldberg Variations) create an inviting, peaceful sense of space that stands at odds with the tension of the plot. The clean, elegant world of Terminal Man is one in which you would want to live.

    Watch Terminal Man for the sets, for the music, and for its nostalgic sense of a forgotten future. Back in the 70s, this was the future everyone was expecting, if not hoping to find right around the corner. Like Andromeda Strain, Coma and the Anderson Tapes, Terminal Man is less a thriller and more a cultural time capsule. Get comfortable in your beanbag chair, turn on the lava lamp, and enjoy.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Crichton was fired from writing the screenplay due to the fact that his script did not follow the novel (which he had written) closely enough.
    • Gaffes
      At the cemetery, the usual mechanism for lowering the coffin into the grave is missing. There aren't even any straps in place to lower it manually.
    • Citations

      Benson: [mumbles]

      Dr. John Ellis: [operating on Benson] What was that?

      Dr. Robert Morris: Patient.

      Dr. John Ellis: You all right, Mr. Benson?

      Benson: [groggily] Fine... fine...

      Dr. John Ellis: Any pain?

      Benson: No...

      Dr. John Ellis: Good. Just relax now.

      Benson: You too doctor...

    • Versions alternatives
      On its release at 2003 Edinburgh Film Festival, there was a director's cut which Hodges had cut out the beginning with the doctor looking at photographs of Harry Benson.
    • Connexions
      Featured in Cinemacabre TV Trailers (1993)
    • Bandes originales
      Goldberg Variation No. 25
      by Johann Sebastian Bach (as J.S. Bach)

      Played by Glenn Gould

      Courtesy Columbia Records

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    FAQ15

    • How long is The Terminal Man?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 9 mars 1977 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • El hombre terminal
    • Lieux de tournage
      • Forest Lawn Memorial Park - 1712 S Glendale Avenue, Glendale, Californie, États-Unis(cemetery)
    • Société de production
      • Warner Bros.
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 224 542 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 44 minutes
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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