BlazeLime Strong and Moving!

Glucedee It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

Mandeep Tyson The acting in this movie is really good.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Panamint Excellent science-fiction ideas and high moral purpose with classy actors- what could be better? A lot could be better- its too static, a general stasis pervades most of the scenes.A brilliant scientist is artificially trapped in a Stephen Hawking-esque existence. The film largely takes place in an eerie dark mansion that contains a laboratory with the usual oscilloscopes, and (since this was entering the modern era) a tape-drive computer console, yet another movie brain-in-a-tank sequence and other sci-fi components, all nicely done for the 1950's.Veteran stars of film and the New York stage with impressive acting credentials such as Otto Kruger and Mala Powers give solid performances, and fine actor Ross Martin is very good, both as a human and in his Hawking-esque voice only mode. I only mention Dr. Hawking out of respect, to illustrate how far ahead of its time the film's basic concept was.The actors at times have a curious lack of cohesion interacting with each other, a situation that is clearly the fault of the director, as is the slow pace, and in fact I would place all the blame for every fault of this film squarely in the lap of the director, who in my opinion seriously bungled what is otherwise a potentially very fine film. A reviewer here mentions the scene of a crowd just standing while being zapped- such stasis in scenes is inexcusable. And I agree with reviewers who decry the lack of a "rampage"- a good monster menace should ideally rampage around the city a little but this one doesn't (he moves around the city some while hidden in a clever way, but the result is: no rampage).I will give "The Colossus of New York" 5 stars out of 10 but wish I could give it a higher rating. Just can't do it.

Hitchcoc This movie has some very intriguing implications. Of course, we have to take the medical advances and the technology as possible. Ross Martin is one of the world's greatest hopes for finding a way to feed the exploding population. On his way to accept what is probably the Nobel Prize (they change the name) he chases a little toy airplane, blown out of his son's hands by the wind, and is run over by a truck. His father, one of the foremost brain experts, working in tandem with his brother, manages to remove his brain and hook it up to machinery and ultimately to a robot that gives it mobility. He is a zealot and harsh, self-centered character, who feels that he gets to make the rules. He has never respected the other son and treats him like a small child. This man is himself an engineering genius who has contributed greatly to his late brother's success with little credit. What the "mad scientist" (which isn't really an accurate term) forgets is that the brain now lies in the head of an unfeeling machine. This leads to depression and thoughts of revenge. There is still a connection to the wife and the little boy, and when the brother begins to try to make his way into the family (with little success), jealousy gets the best of him and he commits fratricide. Instead of seeing himself as the salvation of the world, he begins to see humans as inferiors who need to be eliminated. He develops two abilities. One is the ability to connect with people (to locate them through ESP) and the second is a death ray which allows him to kill innocent people. He becomes overwhelmed with anger at the drop of a hat. His connection to the little boy is a serious factor.

Wizard-8 Although the title of this movie - "The Colossus of New York" - suggests that the Big Apple is terrorized for most of the running time, the title figure only goes on a (brief) rampage in the final few minutes. For just about the rest of the movie, the Colossus stays on a country estate near the city. Though it might have been more fun to show the Colossus on more of a rampage, the movie is still enjoyable. Certainly, there are some unintended chuckles, like the primitive science used to construct the Colossus. But there are actually some genuinely good moments here and there. The scene where the Colossus is first activated is both creepy and intriguing. And there are some pointed questions as to if the scientists are doing the right thing or not. Though the movie is cheap, there is some real atmosphere in part with the piano musical score, which gives this movie a really different feeling than other sci-fi movies of this period. Don't get me wrong - this isn't some intelligent masterpiece. But it manages to catch your attention, and at 70 minutes does not overstay its welcome.

Edgar Soberon Torchia "The Colossus of New York" has aged rather well. It still evokes the same strange fascination it had back in the late 1950s, when its story and title character startled me. It was evident back then that the film was a low-budget production, and that it was not a masterpiece of fantastic cinema, but its variation of the theme of the scientist that creates a monster was interesting, and the appearance of the colossus was impressive. I have read a couple of commentaries from producer William Alland, in which he expressed that he was very unsatisfied with the results, and put all the blame on Eugène Lourié. Allan definitely did not paid too much attention to the limitations of the budget he administered –forcing to reuse shots, and the inclusion of stock footage-, of Thelma Schnee's weak script, or the negligence of Floyd Knudtson's editing. But especially, Alland overlooked John F. Warren's images, some of which are remarkable. This is also due to Lourié's background: he was originally an art director and set designer, and it shows. The lightning, compositions and camera angles are effective most of the times, and compensate for the shortcomings. Where Lourié's lack of expertise shows is in the routine camera set-ups, putting the camera (and the spectator) in the same position, in scenes that take place in the same locations, but separate in time. This somehow makes the movie unfold too cautiously, an explanation to the speed up of some shots when the colossus moves. Otherwise it is a recommended, little cult film that will stick to your memory.