[Originally published in Movietone News 28, December 1973]
Stanley Kubrick has staked out as his special territory the study of the diverse and frequently perverse liaisons between man and machine. In films like Dr. Strangelove and 2001: A Space Odyssey Kubrick obsessively examines all the accoutrements of a technological environment in which sophisticated hardware continually threatens to become autonomous, even humanized, while man is recreated in the image not of an anthropomorphic deity but of deus ex machina. Michael Crichton (author of The Andromeda Strain and The Terminal Man, director of Extreme Closeup) is equally preoccupied with scientific paraphernalia and what it portends for the future of mankind. But whereas Kubrick is an artist who makes the machinery serve the myth, Crichton displays only a facile cleverness, a slick talent for coming up with a grabby idea upon which to hang the full weight of a novel or a film. The best contemporary sci-fi writers have turned true novelists in their concern with characterization and style, as well as the need to present in-depth analyses of the ethical, moral, even metaphysical fallout resulting from current technological advances. Crichton’s work has more in common with the oldfashioned sci-fi adventure/suspense thriller genre. For instance, The Terminal Man begins as potentially “modern” science fiction: a man given to extreme violence during epileptic seizures is “cured” by the implantation of a miniature computer in his brain; this cybernetic therapy is complicated by his increasingly psychotic belief that machines are taking control of humans. But Crichton dodges the rich possibilities of this material and ultimately settles for mere chase melodrama. Still, The Terminal Man is as close as he’s come to real achievement in the genre of serious sci-fi.