Cinesicko, I was pleased to read your post. Kubrick knows his stuff. Terminal Man has an aura you rarely find in movies today.The Bach Goldberg is chilling. Another nice touch was the look of the film - the sets & wardrobe were all black & white or grey for the most part, & served to set off the bits of color - a red rose, red blood, colors of nature, etc. Always dug that. These bitches complaining it's too slow or pointless - well why even bother? The early-mid 70's was an interesting time for American movies, including sci-fi, before the onslaught of blockbusters later in the decade became the norm. Which reminds me of another Michael Crichton from a couple years earlier - Andromeda Strain. And I can just hear the bitches complaining about that one. Sigh.
Not sure how I missed your response, but thanks for responding. I agree with you about the bold splashes of color throughout; they really punctuate several key shots/scenes. I was surprised to find this was directed by the guy who gave us GET CARTER (1971), which feels so different stylistically... but which is similarly cold-blooded in its approach (unflinching portrayals of jarringly brutal violence perpetrated by anti-heroes) and hasthe same ultra-bleak worldview. Both are amazing movies, but I'd definitely hide the razor blades before embarking on a double feature.