Twilightfa Watch something else. There are very few redeeming qualities to this film.

Sabah Hensley This is a dark and sometimes deeply uncomfortable drama

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

Staci Frederick Blistering performances.

davidoayinde My Six Million Dollar question is why hasn't there been a remake of the Six Million Dollar Man for the Network stations? The Six Million Dollar Man was my favourite TV show in the 1970's. Considering the time it was made, I think it was good value for money.The show attracted huge audience ratings on the Universal and NBC Television Station between 1974 and 1978.Lee Majors (born Harvey Lee Yeary),before playing the Bionic Man,he featured in "The Big Valley" as Heath Barkley(1965),"The Ballad of Andy Crocker" as Andy Crocker(1969). I believe it was The Six Million Dollar Man that made him hugely popular. Other sources may argue and say it was "The Fall Guy". Colonel Steve Austin, aka the Six Million Dollar Man was definitely a role Majors was born to play and he certainly made it his own. Other sources claim that Monte Markham was to play the role before the role was given to Majors. However, Markham did get the chance to feature in a few of the Six Million Dollar Man episodes,("The Seven Million Dollar Man" and "The Bionic Criminal").'How much did he cost?' 'This man had one bionic arm', 'two bionic legs', and 'a bionic eye'. 'How fast could he run?' Well, he's hit sixty miles per hour. 'Oscar Goldman'(played by Richard Anderson) must be very proud'.Although I find it difficult to pick a favourite,because all the episodes were good. Here are a few of my favourite episodes that I can recall: 1. "The Seven Million Dollar Man" (November 1974) 2. "The Bionic Woman Part 1&2" (March 1975) 3. "Day of the Robot" (February 1974) 4. "The Bionic Criminal" (November 1975) 5. "The Return of the Bionic Woman Part 1&2" (September 1975) 6. "The Return of the Robot Maker" (January 1975) 7. "Population Zero" (January 1974) 8. "The E.S.P. Spy" (March 1975) 9. "Hocus - Pocus" (January 1976).I believe if they follow the 1970's format by keeping the music sound in the series it will work. There is so much going on politically around the world and I am sure there is a lot to come up with. Look at Hawaii Five O. They have kept the original music series and have managed to come up with some good episodes and it is currently riding high on America's TV Network Station.I would love to see a remake of The Six Million Dollar Man for TV in America.

Steve Nyland (Squonkamatic) Television really never had it so good as the five years when "The Six Million Dollar Man" more or less dominated the airwaves. I was exactly seven years old when the show first premiered as a weekly event and while seeing the very beginnings of the series are hazy recollections at best it quickly became THE weekly television event in our household. At least as far as I was concerned -- back then parents actually regulated stuff like what TV you watched and where you went after school. We each got to pick one show to watch every weekend (no TV on school nights!) and I always picked The Bionic Man. The few times I was forced to miss it due to groundings or family scheduling conflicts were absolutely traumatic. I literally had no idea how the epic "Secret of Bigfoot" turned out for a whole year waiting for it to go into rerun phase because of a behavioral infraction the week of part two. Take it for granted that I never screwed up like that again.For my money the show was better than "Star Trek" because it was (at first, at least) far less pompous. We didn't necessarily tune in to learn anything, we tuned in to watch Colonel Steve Austin bust through walls, jump over buildings and throw stuff with that bionic screeching projectile sound effect. Eventually the show demonstrated to us how to be good citizens, see right from wrong and appreciate the military industrial complex. Eventually the show lost it's edginess and became routine, with disco mustaches and Bionic Woman & Farrah Fawcett guest appearances that intruded on our fun.But man, all the memories: Sasquatch, The Death Probe, John Saxon as a faceless robot squawking backwards, the weekly opening segment, Oscar Goldman with his omnipotent phone in a briefcase, Steve's Mercedes and custom belt buckle, and who can forget that sweet jacket covered with NASA mission patches. What the heck was that supposed to mean? Though you must admit that just like Kirk's v-necked wrap tunic, anybody else other than Colonel Steve Austin would have looked like an idiot paravanting around in it.Seriously, sometimes I wonder what people REALLY watch these days on television, and what brings them back week after week. Watching people dance or forage for coconuts or sing, yeah whatever. Even the fiction shows of today that are considered "hits"; what's the deal with them? How do they keep audiences tuning in every week, buying the products that are being advertised and turning into hysterics when a particular series is threatened with cancellation? Back when SMDM (as we call it for short) was the thing we honestly didn't know if he would be back the next week ... not because the show might have been canceled, but because for all we might know he could have been KILLED every week. He wasn't just some actor playing a role, we believed in this show. And not just because we were dumb kids, but because it was convincing, absorbing and oh so brain dead stupid.You honestly couldn't help but love it, and when I mean "convincing" I am not referring to the bionic special effects, I mean that we believed in the little microcosm this television show inhabited. It involved us as viewers and engaged our imaginations, which is not something I have encountered on TV in a live action show since "The X-Files" started to suck. There's no way to deny that once SMDM became a ratings hit and the Bionic Man a childhood icon it became muddled and weak, though even in it's last season there were some wonderful SMDM moments.What's more important is that the show has endured the passage of time, perhaps mostly because it hasn't to this date (April 2008) been remade or otherwise ruined: The image of Colonel Steve Austin in his polyester lounge suits flipping over cars and chasing Bigfoot around the woods has remained intact, aside from some later years made for TV movies that I somehow managed to miss. The memory remains intact and unsullied, though a complete series North American DVD release would be appreciated, thank you.10/10: Please, don't remake it, sir.

grendelkhan Before Arnold became a Terminator, Lee Majors was everyone's favorite cyborg. For any sci-fi or adventure show fan, this was THE show of the 70's. The 60's had Kirk, Spock, Tribbles, and Klingons; the 70's had Steve Austin, Oscar Goldman, Jamie Summers, and Bigfoot.Lee Majors was Steve Austin, astronaut; a man barely alive...... There was nothing Stone Cold about this Steve Austin, except maybe his wardrobe. Lee Majors was quite entertaining as Col. Steve Austin; part James Bond, part Buzz Aldrin/Chuck Yeager, and part Superman. Lee gave Austin a nice mix of serious and fun. Yes, his acting could be as mechanical as his bionics; but, Majors always had a bit of a twinkle in his eye (may have been the lens in the bionic one). He never took himself too seriously in the role, but could convey that emotion when the script called for it.Richard Anderson was steady as boss and pal Oscar Goldman. Like Majors, he was limited, but well suited to his character. Anderson could be a good supporting actor when he rose to the occasion; and he often did.I personally preferred Martin E. Brooks to Allan Openheimer, as Dr. Rudy Wells. Brooks came across more as a scientist. The other supporting characters varied in quality from show to show, but Rudy was always an integral part.The episodes vary in excitement and imagination. The later seasons suffered from repetition, but, the early ones hold up well as good science fiction. Personal favorites include the death probe; the Russian installation with a doomsday device that is accidentally activated; the booby-trapped Liberty Bell; the androids; Steve's return flight in the experimental craft from the pilot movie;the Bionic Woman cross-overs; and, of course, Bigfoot. I preferred the more science fiction oriented stories to the more mundane cops and robbers shows.The show had quite a mix of guest stars. There were the greats, like William Shatner, Lou Gossett Jr., Guy Doleman (from Thunderball and the Ipcress File), and Ted Cassidy and Andre the Giant as Bigfoot (Andre played him first). There were the so-so, like Farrah Fawcett (Majors), Cathy Rigby, Gary Lockwood, and John Saxon. Then there were the strange, like Sonny Bono and Larry Csonka.This was the show that caused millions of kids in the 70's to run in slow motion, while making strange noises. It also had the coolest action figure; it came with an engine block that you could cause Steve Austin to lift, by pressing a button on his back. You could also look through the bionic eye, although you had to make your own sound effects. I understand these things go for big bucks on eBay.Years later, I found a copy of the original novel, Cyborg, by Martin Caidin.The character was a bit different. He was more of a secret agent than in the series, and the bionics were a bit different. The eye was actually a camera, rather than a telescopic lens. It was explained that Austin's stamina was greater, since his lungs didn't have to provide oxygen to his bionic limbs. He also had special enhancements for the limbs for special missions. In one, he has webbed feet for underwater swimming. The book plays up Austin's intelligence and scientific background more. It was generally well written, and makes a nice contrast to the series.There have been rumors of an updated movie. At one point, it was pitched as a comedy with Chris Rock. Thankfully, that doesn't seem to be the case right now. It has tremendous potential as and action/sci-fi movie, particularly with advances in special effects. Here's hoping the right script, director, and cast comes along and makes it a reality. Of course, they'll have to adjust it for inflation; 6 million doesn't buy much these days. And defense contractors are notorious for overcharging for substandard work.While we're waiting, how about a DVD box set?

Thomas Rucki To understand the genesis of the show, watch first Harve Bennett's "The Astronaut" (1972) ---with the music of Gil Mellé-- and "Texas, We've Got a Problem" (1974). With a good, solid, realistic in treatment (psychologically and artistically), 1973 pilot produced and directed by David Irving and starring Martin Balsam as Dr. Rudy Wells (see H. G. Wells?) and Darren McGavin as the crippled cynical and manipulator Intelligent head Oliver Spencer who is also known as newspaper "Kolchak, The Night Stalker"; the show starts very well with Gil Mellé's electronic and jazzy score a la Miles Davis' "Bitches Brew", then comes a terrible second pilot "Wine, Woman and War", produced by Michael Gleason and written by Glen A. Larson with a dreadful main title and a horrible song by Dusty Springfield in which Steve Austin is a kind of reluctant second-rate James Bond whose mission ends with an atomic explosion. The series really finds its format with the third pilot: "The Solid Gold Kidnapping" with Jack Cole's famous techno medical main title (made with footages from the two pilots, video effects and body animations). During the middle of season 1, the music department decided to add sound effects from Universal's stock music library to highlight the bionic motions (some were already used in a previous series like the 1972 E.S.P. series "The Sixth Sense"---oddly enough, you can hear a noise from a missile when Austin launches an object into the air). The series had three Dr. Rudy Wells: one played by Martin Balsam (first pilot), by Alan Oppenheimer (pilot 2 & 3 and season 1 & 2) and by Martin E. Brooks (season 3, 4 & 5). The first two seasons ---produced by Sam Strangis/Donald R. Boyle and Lionel E. Siegel/Joe L. Cramer--- were in the line of the pilots and then occurs the transitory season 3 ---in 1975, the main composer Oliver Nelson and the music supervisor Hal Mooney left---, a season 4 with some drastic changes (bad writers and producers, the lead wears a ridiculous thin moustache, Goldman has a new office's decoration and the music is composed and renewed by J. J. Johnson) and therefore an un-inspired season 5 ---without Harve Bennett--- in which the protagonist wears a pre-"Fall Guy" haircut. TSMDM is basically an espionage series with a shallow sci-fi canvas (everybody remember the zoom shot bionic left eye with the frames or the infrared vision); notice the various martial music themes to grasp the concept of this pro-gov/militaryNASA/technology drama. The first pilot shows an offhand and rebel Steve Austin who refuses his injured disabled condition (even try to commit suicide) and his involvement in the scientifical department of the C.I.A. (here, O.S.O.: Office of Strategic Operation, and, later O.S.I.: Office of Scientifical Intelligence): official Oliver Spencer (later Richard Anderson as Oscar Goldman) even receivs a cold slap. From season 2, we are introduced to another bionic man: paranoid auto racing Barney Miller (with a season 3 sequel) in "The Seven Million Dollar Man", and a woman: tennis champ Jaimie Sommers, in a two-parter (with a season 3 sequel too) in "The Bionic Woman". From that point, the show slips into cheap bionic new products (Bigfoot, boy, dog) with a comic book leaning. The best episodes are those which deal with the space program/Austin's background ("The Rescue of Athena One", "Burning Bright", "The Pioneers", "The Deadly Replay": where we learn about Austin's near fatal plane accident) and the dangers of technology in the hands of America's inner enemies ("Population Zero", "Day of the Robot", "Run, Steve, Run").