Dick Wolf Movies

Director Yves Simoneau explores the plight of the American Indian in the later half of the 19th century in this docudrama exploring the effects of westward expansion and based on the book by Dee Brown. ~ Jason Buchanan, Rovi

Dick Wolf, the TV producer responsible for the seemingly endless Law & Order and its numerous spin-offs, entered the realm of "reality" television with his weekly 60-minute NBC series Crime & Punishment. Co-created by Wolf and David Kanter, the series followed a number of criminal cases, from arrest to final verdict, brought to trial by the D.A.'s office of San Diego, CA. Though the cases, lawyers, police, perpetrators, and witnesses were real, and the episodes were unscripted and unrehearsed, the series was edited in the manner of a "fictional" crime show, replete with mini-climaxes just before each and every commercial break. The opening episode of Crime & Punishment, originally aired June 16, 2002, dealt with the first-degree murder trial of James Dailey, a security guard accused of murdering his wife. ~ Hal Erickson, Rovi

Based on the classic Jack Webb cop series of the 1950s and '60s, Dragnet was the second latter-day revival of the property to boast a new cast and grittier edge (the first non-Webb revival was the obscure syndicated Dragnet seen in 1989). On this occasion, Ed O'Neill starred as Sgt. Joe Friday, LAPD, with Ethan Embry as his partner, Bill Gannon. The fact that Friday was then the older and more experienced of the two partners (not the case in the orginal Dragnet, wherein silent movie veteran Ben Alexander was seen as Frank Smith) was but one of the many deviations from the property's traditional formula. Another was the emphasis on crimes involving sex, decadence, and drugs -- and this time, there were none of the legendary "Joe Friday Lectures" involving narcotics abuse. Finally, this Joe Friday was capable of emotional outbursts and was far more prone to resort to strong-arm methods when dealing with perpetrators (most of whom, admittedly, deserved such treatment). Still, many of the familiar Dragnet trappings were still in evidence, including the "Names have been changed to protect the innocent" opening disclaimer, the terse dialogue, the voice-over narration, the "Just one more thing" fade-out speeches, and the ironic responses to shaky alibis. Executive-produced by Dick Wolf of Law & Order fame, this newest incarnation of Dragnet debuted February 2, 2003. ~ Hal Erickson, Rovi

Season One of Law & Order came to an end with this emotionally charged episode, in which police captain Don Cragen (Dann Florek) is himself a suspect in a conspiracy investigation. Cragen's longtime friend and colleague Peter O'Farrell (Robert Lansing), the NYPD's Chief of Operations, is suspected of laundering drug money. Reluctantly, the D.A.'s office pursues a possible link between O'Farrell's alleged crime and Cragen's supposed complicity. Series regular George Dzundza makes his final appearance as Detective Max Greevey. ~ Hal Erickson, Rovi

In this concluding episode of a two-part "crossover" story which began on Law & Order's sister series Law & Order: SVU, the D.A.'s office endeavors to connect the murder of a salesman with the politically influential Mulroney family. Despite pressure brought to bear by powerful matriarch Regina Mulroney (Jane Alexander), A.D.A. Jack McCoy (Sam Waterston) refuses to drop the prosecution. Featured in the cast are SVU regulars Richard Belzer (as Detective John Munch), Christopher Meloni (Detective Elliot Stabler), Mariska Hargitay (Detective Olivia Bensen), and Dann Florek (Captain Don Cragen). ~ Hal Erickson, Rovi

The then-contemporary "Preppie Murder" case was the obvious inspiration for this 1990 episode of Law & Order. A wealthy and well-connected young man is charged with the murder of his girlfriend. The efforts of Stone (Michael Moriarty) and Robinette (Richard Brooks) to prosecute the case are stymied by a huge publicity blitz, and by the Defense's strategy of putting the dead woman's character on trial. "Kiss the Girls and Make Them Die" was originally telecast October 11, 1990, as a last-minute replacement for the scheduled episode "Poison Ivy" (which was moved up to November 20). ~ Hal Erickson, Rovi

'In the criminal justice system, the people are represented by two separate, yet equally important, groups: the police, who investigate crime, and the district attorneys who prosecute the offenders. These are their stories.' With this pithy but all-inclusive prologue, thus began each hour-long episode of Law & Order, American network television's longest-running police drama. This was not the first such program to equally divide its time between the arrest and the trial; indeed, there had been a series precisely titled Arrest and Trial back in 1963. But Law & Order was easily the most popular and successful of the batch, and as the series eased gracefully past its 11th, 12th, and 13th season, it was very likely that its creator and executive producer Dick Wolf would fulfill his dream of matching and even surpassing the longevity of Gunsmoke, which lasted 20 years, setting a record as American network television's most durable dramatic series. Although Law & Order boasted a large and fluid ensemble cast, there were no real "stars" per se, save for the city of New York (a point made by scores of TV historians, notably Tim Brooks and Earle Marsh). Virtually every episode starts out with the discovery of a dead body or evidence of a violent crime. A pair of NYPD detectives arrive on the scene, begin gathering evidence and eyewitnesses at the behest of their superiors, and -- generally after a handful of frustrating dead ends and false leads -- manage to collar the principal suspect. The story then shifts to the offices of the DA, where a team of brilliant prosecuting attorneys do their best to build a case against the accused, dodging the obstructive tactics of defense lawyers all along the way. Even when the case gets to court, the story is far from over, with several twists and turns -- and usually a shocking and unexpected denouement -- awaiting both the prosecutors and the viewer. The series made its NBC network debut Thursday, September 13, 1990, moving to its originally scheduled Tuesday-night slot October 23. The original cast included, on the side of "Law," chubby, hard-boiled veteran detective Sgt. Max Greevey (George Dzundza) and his younger, more athletic partner, Mike Logan (Chris Noth). Their supervisor was Captain Donald Cragen, played by Dann Florek. Once the detectives had completed their share of the work, the scene changed to the "Order" team of District Attorney Adam Schiff (played by Steven Hill), who appeared in all but the pilot episode, and a brace of intense, dedicated assistant DAs, the Caucasian Ben Stone (Michael Moriarty) and African-American Paul Robinette (Richard Brooks). The program's first season had several distinctions: In keeping with network's promise of delivering TV's top "action series," the scenes in which Greevey and Logan track down the perp are top-heavy with noise and violence (generally implied, but not always so), vertigo-inducing handheld camerawork and punchy background music. Also, individual scenes run a bit longer than the later short-and-sweet vignettes that would become the series' stylistic trademark. And unlike the relatively dispassionate detectives seen in later seasons, Greevey and Logan tend to become emotionally involved in their work; similarly, lawyers Stone and Robinette seem to take every legal setback personally, much more so than their successors in the series' subsequent years, although DA Schiff exhibits as much calm, stoic integrity in his first appearance as he would in his last, a decade later. Even in its earliest episodes, however, the emphasis is on the story rather than personalities: All we learn of the regulars' private lives is revealed in fragmentary fashion, and only when it bears some relevance. Fans of the latter-day Law & Order will notice that the first season lacks the gender balance of the series' later years -- or, put more bluntly, the series was pretty much an "all boys' club." Although dozens of prominent actresses appeared in supporting roles, there were no regular female characters, a fact that tended to weaken the series' ratings in its formative seasons. Still, it would not be until the fourth season began in 1993 that any distaff characters would be added to the weekly lineup. One element of the series was established early on and would remain in place forever afterward: Most of the stories on Law & Order were "ripped from today's headlines," often with only the names changed to protect the innocent (?). In season one alone, the series offers fictionalizations of the Bernard Goetz subway shootings, the Menendez killings, the Central Park "Preppie Murder," the "Mayflower Madam," the Tawana Brawley imbroglio, and the Steinberg child-murder case. So close did the last-named episode come to the actual facts that the series' producers were compelled to include a disclaimer at the beginning of several episodes, assuring viewers that, although the story was inspired by real happenings, the script itself was otherwise purely a work of fiction. The fact that Law & Order was frequently pre-empted by network specials indicated that NBC wasn't all that sure of the series' success. By the end of the first season, however, the ratings, if not spectacular, were good enough to warrant a renewal -- while backstage intrigues assured that the series would undergo the first of its many abrupt cast changes. ~ Hal Erickson, Rovi

Another major casting change occurred during the third season of Law & Order, although not until the series had offered eight episodes. In "Prince of Darkness," an undercover police operation goes tragically awry, and Detective Phil Ceretta (Paul Sorvino) ends up seriously wounded. Though Ceretta would recover sufficiently to take up a desk job, Sorvino himself decided to leave the series for good; like George Dzundza before him, the actor felt that the series' format was too confining for his talents. Brought in as Mike Logan's (Chris Noth) new partner was Jerry Orbach as laconic veteran detective Lennie Briscoe, a recovering alcoholic with a multitude of family problems (which, in fine old Law & Order tradition, were only revealed to the audience on a "need to know" basis). At the time Orbach joined the series, there was much speculation (usually tongue-in-cheek in nature) as to how long it would be before he, too, was shot down in the line of duty, just like Logan's two previous partners, Greevey and Ceretta. As it turned out, Orbach not only outlasted Noth as Logan, but by season 13, he had been on the series longer than any other regular. A few stylistic changes marked season three. The "street action" was more or less cut to the bone, as was the background music. Also, in answer to viewer demand, the handheld camerawork became more steady and less distracting. One thing still remained constant from season one: the series' lack of regular female characters. At least Carolyn McCormick, in the recurring role of police psychologist Dr. Elizabeth Olivet, was spotlighted in the compelling episode "Helpless." Once again, Law & Order was honored with several Emmy nominations during the 1992-1993 season. This time out, the series copped the Emmy twice, for Elaine Stritch's guest-star turn in "Point of View" and for Constantine Makris' photography. Ratings remained steady, if not spectacular, but things would change dramatically during the next season. ~ Hal Erickson, Rovi

The biggest news surrounding Law & Order's fifth season was the acrimonious exit of series regular Michael Moriarty, who, since the program's inception, had upheld the "Order" part of the program as Executive Assistant DA Ben Stone. According to the script, Stone quit the DA's office in disgust and despair after a witness to whom he'd promised protection was murdered. In truth, Moriarty had long been dissatisfied with the diminishing amount of screen time afforded the DA's office -- and he was also worried that then-U.S. Attorney General Janet Reno would make good on her promise to purge network TV of "excessive violence," a move he felt would emasculate reality-based series like Law & Order. With the departure of Ben Stone, a new face was added to the series' judicial lineup: Assistant DA Sam McCoy, played by Sam Waterston. Like his colleagues, McCoy was a basically decent, but decidedly imperfect, human being; famous for walking a very thin line between ethics and legal flim-flammery, he was also a renowned womanizer, having slept with virtually all of his former law partners -- a fact that added a fascinating dimension to his relationship with State's Attorney Claire Kincaid (Jill Hennessy). Despite its so-so ratings, Law & Order had enough viewer support and industry clout to survive its fifth season, passing the 100-episode mark with "Progeny" (although NBC, refusing to acknowledge the existence of the series' 1990 pilot episode because it had been commissioned by CBS, insisted that "Rage" was Number 100). One indication that the series was supported by its network was the fact that the producers were given enough production money to complete 23 episodes, rather than the standard 22. In what was rapidly becoming a Law & Order tradition, the 1994-1995 season ended with the exit of still another character. In the season finale, "Pride," Detective Mike Logan Chris Noth was yanked from homicide and reduced to pounding a beat on Staten Island after punching out a homophobic councilman. In real life, producer Dick Wolf decided not to renew Noth's contract, feeling that the actor had reached the limits of his character -- and that the world-weary Mike Logan did not provide enough contrast with his equally hard-bitten, acerbic partner Lennie Briscoe (Jerry Orbach). Although Noth never returned to the weekly version of Law & Order, he was able to persuade the series' producers to fashion a spin-off TV movie, 1998's Exiled, which tied up the loose ends of Logan's career. ~ Hal Erickson, Rovi

Law & Order entered its seventh season on a note of uncertainty: Had Assistant DA Claire Kincaid (Jill Hennessy) been killed by that drunk driver at the end of season six? The answer would remain vague until it was determined by the producers that actress Hennessy had no intention of returning to the series; it was at this point that the unfortunate Kincaid was sadly and reverently referred to in the past tense. Her replacement was ADA Jamie Ross (played by Carey Lowell). The idealistic Ross, who struggled to balance her career with her home life as a single mom, proved to be an excellent opposite number for the jaded, unattached Executive ADA Jack McCoy (Sam Waterston). In addition to claiming Kincaid, death took its toll on another of the series' characters. Throughout season seven, the never-seen wife of DA Adam Schiff (Steven Hill) lay virtually comatose in a hospital bed, tenaciously hanging on to life. The final episode of the season concluded with a grieving Schiff sitting at bedside as the monitor attached to his wife flat-lined. Nor was the brief sojourn to Hollywood taken by detectives Briscoe (Jerry Orbach) and Curtis (Benjamin Bratt) fraught with merriment. They had gone to Tinseltown to investigate the brutal murder of a female studio executive, a plot line which necessitated the series' first (and, to this point, only) three-part story. This expanded time frame afforded ample opportunity to probe the private lives of two of the series' principals: Curtis, devoted to his ailing wife (who had earlier been diagnosed with multiple sclerosis), nonetheless briefly drifted from his marital vows with a sexy Hollywoodite, and new ADA Jamie Ross was bedeviled by her ex-husband, scheming defense attorney Neal Gordon (Keith Szarabajka), both in and out of court. After several years worth of Emmy nominations but no wins, Law & Order closed out season seven with two new statuettes, for Outstanding Drama Series and Outstanding Cinematography. ~ Hal Erickson, Rovi

With the eighth-season departure of series regular Carey Lowell as ADA Jamie Ross, Angie Harmon joined the cast of Law & Order at the beginning of its ninth season. Harmon, of course, played Ross' replacement, ADA Abbie Carmichael, who, if anything, was even more zealous in her pursuit of justice than her new partner Jack McCoy (Sam Waterston). Having racked up a 95 percent conviction rate while working in Special Narcotics, Carmichael tackled her new job with a zeal and ferocity that shocked even the ruthless McCoy -- to say nothing of her sanguine boss, DA Adam Schiff (Steven Hill). There were no ninth-season changes amongst the series' detectives, with Briscoe (Jerry Orbach) and Curtis (Benjamin Bratt) continuing to track down clues and collar perps under the supervision of Lt. Van Buren (S. Epatha Merkerson). However, actor Bratt was anxious to pursue other professional vistas, and thus it was arranged to write Rey Curtis out of the series during the final episode, explaining that he had requested a desk job so that he could devote more time to his wife, who was suffering from multiple sclerosis. But before his character's departure, Bratt managed to persuade his then-girlfriend, cinema superstar Julia Roberts, to appear in a guest role in the episode "Empire." The result was one of Roberts' finest performances, which earned the actress an Emmy. Of the many headline-inspired episodes in season nine, one was a standout: "Sideshow," the series' third and final crossover with the NBC crime drama Homicide: Life on the Street. Clearly inspired by the ongoing efforts to impeach President Bill Clinton, the episode featured a somewhat sinister independent counsel named William Dell, who, as played by George Hearn, bore a striking resemblance to the much-maligned Kenneth Starr. Law & Order closed its ninth season with a powerful two-parter involving the Russian mafia. On this occasion, Carolyn McCormick made a return visit to the series as former police psychologist Dr. Elizabeth Olivet, a recurring character who had been more or less supplanted during the previous two seasons by J.K. Simmons as Dr. Emil Skoda. ~ Hal Erickson, Rovi