Fans of science fiction scribe Michael Moorcock will likely find the screen version of The Finale Programme to be a bit of a desecration, but even those who are totally unfamiliar with the source are likely to have some problems with this arch adaptation. This is unfortunate, because the basic set-up, while it shares similarities with other sci-fi tales, has a lot of promise. Equally unfortunate, director (and designer) Robert Fuest has provided a wonderfully intriguing visual look for the film. True, that look is heavily and undeniably influenced by the time period (mid-1970s) in which the film was made, and as a result feels dated rather that futuristic. But even so, the production design is wild and inventive and makes much of Programme a visual joyride. It's a shame that Fuest's direction isn't as imaginative as his design; instead, it's frightfully earthbound when one wants something that soars. Worse, it's laced with a certain deadpan irony (also typical of the period) that works against the film's need to explore the fantastic. Even with better direction, Programme would be a bit of a chore, as the screenplay is chaotic and messy. The cast tries hard, but they're hampered by the material and by Fuest's supervision; however, Sterling Hayden manages to enliven things considerably with his bizarre but highly effective turn.