ClassyWas Excellent, smart action film.

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Zephaniah Well, it wasn't the worst film I've seen but it was pretty awful. Nonetheless, there were redeeming features and it wasn't a bad storyline, but just as others have noted, poorly executed. Lots of dials and switches probably courtesy of the Battersea power station, interesting electronic music (which the subtitles dubbed "creepy"), an idealistic inventor, an ex Nazi concentration camp experimental doctor, a psychopathic assistant, a megalomaniac clinic owner and best of all 1950's European cars - Peugeot, Messerschmitt, VW, Renault 750, with a Buick among period others. Pity about Rod Cameron - he should have stayed in Westerns. Its an interesting parallel to Total Recall in a low tech way.

fwdixon This is an abominably bad movie, far worse than anything Ed Wood ever did. Wood's oeuvre is at least watchable, if only for camp humor. And Wood's films had a certain loony integrity, a virtue lacking in "The Electronic Monster". "The Electronic Monster" has none of that, offering only an excruciatingly dull mishmash of a confusing script, dreadful acting, a totally misused electronic music background and grade-Z production values. Professional lox, Rod Cameron, never any threat the Lawrence Olivier anyway, is egregiously bad and his somewhat fickle paramour, Mary Murphy demonstrates why she was seldom heard from againWatching this movie makes one wish the dream machine really worked so that they may erase the memory of ever seeing this completely valueless waste of film.

Shuggy In Charles Eric Maine's excellent (for its day) novel, a scientist invents a mind-tape-recorder (helmet on the head, bazillion-track tape), hoping to use it for Good, like studying mental disorders. A movie mogul gets hold of it and soon billions of people waste their lives and their savings in tanks "experiencing" recorded porn or schmaltz (ultraslow replay intensifies the sensations). The scientist decides to take drastic measures, batters the mogul to death and plays the recording to the billions, hoping to scare them back to reality. Instead they die and the book ends as he's about to be sentenced for the death of the mogul, raising the ethical question of the collateral damage.Bear in mind that when Maine wrote this, brain waves were novel, magnetic sound recording was only about a decade old and video recording was still in the future.In the Z-grade film, the WHOLE story is ripped out (daren't offend Hollywood) and we're left with an ordinary quarter-inch reel-to-reel recorder and a squawking electronic soundtrack that has nothing to do with the action on screen. I've completely forgotten the new plot, but vaguely remember people in leotards writhing around some cheesy gauzes to hint at forbidden pleasures.I'd give it an award for Worst Adaptation ever.

Albert Ohayon Dull, dull, cliche ridden film . Brainwashing has been used as a topic for many interesting films(IPCRESS FILE for one). This 1950s British film is not one of them. Instead we get a very basic storyline with no punches whatsoever. Rod Cameron sleepwalks throughout, looking like he would much rather be in a Western. There is an annoying love angle thrown in and some two dimensional characters(mad scientist, caring scientist, power hungry industrialist, rock jawed hero,psycho etc.). The result is a very boring film with no delivery whatsoever. Only the poor viewer is brainwashed.