AniInterview Sorry, this movie sucks

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Staci Frederick Blistering performances.

stangya sorensa In the book, the all-purpose human being that emerges is a dazzling, charismatic creature like Adam Warlock in Marvel comics; in the film, he's a hairy hunchbacked neanderthal. Totally ludicrous and completely unnecessary re-writing! Also, why didn't they state explicily Ms Brunner's real nature (she's a succubus, a female sexual vampire); does Moorcock have issues in that area?

Red-Barracuda I first became aware of this movie at a young age when a couple of stills from it were replicated in a sci-fi book I owned. One of those pictures showed an elaborate colourful nightclub set with giant inflatables and girls in large translucent spheres. Needless to say, I had to check this movie out! I was aware of the character Jerry Cornelius without actually having read any of the Michael Moorcock books which featured him; in fact I first became aware of the character when Games Workshop brought out a metal figurine of him for use in role playing games. Anyhow, I am digressing somewhat, so back to the movie. Its story isn't really its strong point to be perfectly honest. It essentially boils down to Cornelius hooking up with a computer expert called Miss Brunner in order to retrieve a micro-film containing details of the Final Programme, which is a revolutionary scientific process conceived of by Cornelius' late father, which will lead to the creation a self-replicating hermaphrodite messiah. But first the micro-film must be taken by force from Cornelius' deranged brother Frank.The director for this one was Robert Fuest, who was responsible for the 'Dr. Phibes' movies. Like those inventive horror films, this one is visually very interesting, with great set designs and lots of colour. It's a mid-70's future, so it is wild and over-the-top in the manner that many of the best sci-fi films from the period were. The night club for instance is a pop art masterpiece with gaudy décor aplenty and a fantastic colour overload all round. It also has nuns playing fruit machines, and seemingly the members of the space rock band Hawkwind lurking in the background. You could almost say that this scene encapsulates the film as a whole, as it has a primary focus on visuals and a healthy dose of humour, with narrative logic a distant third. This basic formula is maintained throughout with cool detached characters played with distant ironic performances populating a highly stylized world in a story with a screenplay which could charitably be described as 'uneven'. So in order to get anything out of this one I would suggest that you really have to be interested in its visual ideas and overall weird ambiance, as opposed to the narrative itself. Like many of its 70's peers it is a slice of pessimistic sci-fi, set in a possible post-apocalyptic Earth where there is a suggestion that there is an impending disaster yet to come. The ideas don't truthfully seem to be treated entirely seriously, with the jokey tone suggesting that you shouldn't pay too much attention to the story-line. The odd, half-baked ending merely cements this notion further.But I definitely got a kick out of this one. The performances are commendably game, with Jon Finch really very good as Cornelius, the chocolate biscuit addicted dandy of the future. Even better was Jenny Runacre in a thoroughly commandingly sexy performance as Miss Brunner, a bi-sexual predator who literally absorbs her lovers (somehow). There are also some solid cameo appearances from the always weird Patrick Magee as an associate of the demented Frank and Sterling Hayden giving a somewhat bizarre turn as an unhinged military expert. This very strange British sci-fi movie can fairly be described as a cult item. Its anarchic devil-may-care presentation, with some interesting characters and pop art future stylings make it one for fans of weird 70's sci-fi in particular and of strange 70's movies in general. Definitely something of an acquired taste though that is for sure but if you have a taste for baroque, left-of-centre movies and don't mind flippant disregard for trivialities such as plot, then you could have a good time with this one!

Leofwine_draca THE FINAL PROGRAMME is a drug-induced slice of sci-fi craziness, based on a novel by popular fantasy writer Michael Moorcock. Having a fondness for '70s-era science fiction such as LOGAN'S RUN, I was hoping to like this, but the sad truth is that it turns out to be a completely unconvincing dud of a film, far too light-hearted and campy to succeed.The once-familiar actor Jon Finch, so good in FRENZY and MACBETH, gives a hideous performance as the arrogant protagonist, tasked with hunting down a secret microfilm in a world on the edge of the apocalypse. Various oddball supporting characters turn up to either help or hinder him, and the supporting cast is certainly the best thing about this; seeing the familiar faces of Harry Andrews, Julie Ege, Hugh Griffith, Graham Crowden, and Patrick Magee is certainly a pleasure, but they're not enough to distract from this film's overwhelming silliness. I don't mind a bit of camp but this film goes way over the top and as a result is simply stupid.

tulsatv Very stylish tongue-in-cheek sci-fi. I don't recall it being a midnight movie in the 70s or 80s, though it should have been a cult classic here in the U.S.After watching it for the first time last night, I can understand why it didn't see much action on American TV: it is permeated with drug use, irreverence toward religion, nudity, and generally perverse attitudes. As noted by others, it is in the style-sphere of "Modesty Blaise" and "The Avengers" (for which director Fuest wrote and directed in the Linda Thorson and Joanne Lumley eras.) The movie looks great, especially considering the small budget.As a computer programmer, I took it as a nice joke that the computer is depicted as a realistically nondescript box, rather than the usual sci-fi flashing-light monstrosity.Jon Finch seems like a lost member of Led Zeppelin, charismatic, offhand and saturnine. Jenny Runacre plays the imperious Miss Brunner (a nod to SF writer John Brunner?) with a lot of relish.Nice to see two Kubrick actors here: Sterling Hayden (Gen. Jack Ripper in "Dr. Strangelove") and Patrick Magee from "Clockwork Orange". Also, George Coulouris from "Citizen Kane" and a young Sarah Douglas, who later played one of the Kryptonian criminals in the "Superman" series.On the DVD commentary, it is mentioned that Eric Clapton performed the blues guitar on the soundtrack. He is not credited, but the two composers for the film, Beaver and Krause, share music credits with Cream on a 1970 picture, "Pacific Vibrations". So it seems plausible, and I wonder if the solo drum portion of the soundtrack might then be Ginger Baker? Jazz baritone saxist Gerry Mulligan's contribution is wonderful. The diverse music is a strong point of the film.The ending didn't really pay off for me. Maybe it was intended to be a sly nod to "2001"; maybe they just needed to wind things up. But I found the movie very worth seeing.