Catherine Hicks Movies

Dr. Jack Hammond (Dudley Moore) is a noted heart surgeon whose personality is switched with his teenage son Chris (Kirk Cameron) in this uninspired comedy. The ingestion of a brain transference serum is the catalyst for the comic catastrophe and the confusion that follows. Sean Astin and Patrick O'Neal co-star with Margaret Colin and Catherine Hicks. A decent idea for a comedy that has since been done better in Brian Gilbert's 1988 comedy Vice Versa starring Fred Savage and Judge Reinhold. ~ Dan Pavlides, All Movie Guide

Star Trek IV: The Voyage Home (1986) concludes the story arc begun with Star Trek II: The Wrath of Khan (1982) and continued in Star Trek III: The Search for Spock (1984), but on a wholly new, different, and upbeat note. As the movie opens, months have elapsed since the events in Star Trek III; Admiral Kirk (William Shatner), McCoy (DeForest Kelley), Scott (James Doohan), Sulu (George Takei), Uhura (Nichelle Nichols), and Chekhov (Walter Koenig) are marooned in self-imposed exile on Vulcan, along with the resurrected and regenerated Spock (Leonard Nimoy, who also directed). While Spock tries to sort out the Vulcan and human halves of his resurrected psyche, the others prepare to return to Earth to face a brace of charges by the Klingon Empire and Star Fleet over events on Genesis. Taking off in their commandeered, jerry-rigged Klingon ship, they head to Earth, not knowing that a new crisis could destroy their home world -- a huge, immensely powerful alien probe has entered the galaxy and established a position near Earth, disabling every vehicle and installation in its path with its energy and communication output, and has ionized the entire atmosphere and started vaporizing the oceans, leaving the planet only hours to survive.

Spock determines that the probe is sending out signals to another intelligent terrestrial life form, humpbacked whales, which no longer exist. Using the gravity slingshot time-warp effect (established early in the original series) to travel back into Earth's 20th century, Kirk and company land in 1980s San Francisco to try and bring humpbacked whales to the 23rd century, to respond to the probe. Thus starts a surprisingly breezy, light-hearted, yet serious odyssey through the past (comparable to the best work of the original series), as the crew learns to deal with exact-change buses, angry drivers, punk-rock enthusiasts and other elements of '80s life, and Kirk tries to persuade a scientist (Catherine Hicks) of his good intentions for two whales in captivity. The screenplay, co-authored by Steve Meerson, Peter Krikes, Nicholas Meyer, and Harve Bennett (from a story by Nimoy and Bennett), is the cleverest and most sophisticated of all the Star Trek movie screenplays, recalling some of the elements of Meyer's earlier time-travel movie Time After Time and also anticipating the feel and tone of the series Star Trek: The Next Generation (which would be on the air not quite a year later). Nimoy's direction offers a combination of brisk pacing and a deep love of the characters and the actors, as well as a serious appreciation of the humorous aspects of the script, and Shatner gives his best performance of any of the movies. ~ Bruce Eder, All Movie Guide

In this Bill Murray-driven remake of the 1946 Tyrone Power film, Murray plays the lead, Larry Darrel, a World War I survivor who takes off on a foreign trek to discover the meaning of his life. Apparently Murray said he'd film Ghostbusters only if Columbia would let him do Razor's Edge. ~ All Movie Guide

The usually reliable director Bryan Forbes came acropper in Better Late Than Never. In one of his last films, a noticeably weary David Niven plays Nick, the supposed grandfather of 10-year-old heiress Bridget (Kimberly Partridge). Charley (Art Carney) shows up to cramp Nick's act, claiming that he is the genuine grandpa. Both men once slept with Bridget's grandmother, and she was never certain which of the two "inaugurated" her family. Neither Nick nor Charley are exactly prime parental material, so Bridget must choose from the lesser of two evils. Maggie Smith and Catherine Hicks are excellent in their thankless secondary roles. Better Late Than Never was lensed on location in the South of France; the scenery is the film's most pleasing aspect. ~ Hal Erickson, All Movie Guide

This is the made-for-TV version of the romantic drama that chronicles the exploits of a group of glamorous women caught up in the entertainment industry. This version contains material author Jacqueline Susann omitted from her original novel. ~ Sandra Brennan, All Movie Guide

The title of this made-for-TV biopic is faintly risible: is there anything about Marilyn Monroe that we don't know by now? Pleasingly enough, the story is told in a straightforward, nonexploitive manner (the affair with JFK warrants no more than a throwaway line). Emmy-nominated Catherine Hicks plays Marilyn, nee Norma Jean Baker. We follow her progress from orphanages and foster homes to her first 20th Century-Fox contract at age 20. Considered "washed up" before her career has gotten off the ground, Marilyn is rescued both professionally and emotionally by her agent/lover Johnny Hyde (Richard Basehart). She rises to full stardom and is the center of attention of two "ideal" marriages, first to baseball player Joe DiMaggio, then to Arthur Miller (neither of whom are depicted on screen). But Marilyn remains a lonely, tragic figure, a victim as much of her own demons as of Hollywood's exploitation mill. Based loosely on Norman Mailer's highly suspect biography of the actress, Marilyn: The Untold Story premiered on September 28, 1980. ~ Hal Erickson, All Movie Guide

The old 1930s song was "Love For Sale;" now it's the 1970s, and, just like cars and condominiums, it's Love for Rent. Lisa Eilbacher is the innocent midwestern girl who comes to wicked old New York looking for her sister Annette O'Toole. O'Toole is now gainfully employed by an "escort bureau" (note those quote marks), and Eilbacher is likewise drawn into this questionable lifestyle. The ad copy for this TV movie notes that the sisters are "forced to face reality", which is more than the scriptwriters did. Not surprisingly, Love for Rent was based on a Playboy magazine story (by Don Pierce). Its initial audience on November 11, 1979, was most likely close to zero, since a rival network was offering the TV premiere of Dog Day Afternoon. ~ Hal Erickson, All Movie Guide