Felton Perry Movies

The Sports Night crew prepares for an extra long day, due to a special early morning broadcast of mountain climber Desmond Corey's ascent of Mt. Everest. As the staffers track the climber's progress, a water main breaks due to the frigid temperatures outside. Due to the subsequent road closures, Dan (Josh Charles) and Casey (Peter Krause) are unable to get any food delivered to the studio. Dana (Felicity Huffman), after prepping the crew for the day's events, takes the afternoon off to go see The Lion King with her niece -- an activity she is not looking forward to, since her perceptions of Broadway musicals are based on her disliking of anything in the vein of Oklahoma! Upon viewing the performance, however, Dana returns to the studio proclaiming her newfound love for the magic of the theater. Meanwhile, Dan labors over which charity to donate his money to as Natalie (Sabrina Lloyd) and Jeremy (Joshua Malina) decide how to act professionally with one another now that they are beginning to fall in love. ~ Ryan Shriver, Rovi

We'd rather not rehash the sordied Menendez murder case in this space; besides, it isn't necessary, inasmuch as no fewer than two TV movies were produced on the subject in 1994. The first was Fox's Honor Thy Father and Mother; the second, telecast less than a month later, was Menendez: A Killing in Beverly Hills. Two hours longer than the first film, Menendez spends half of its running time recounting the events leading up to the Menendez brothers' murder of the parents, while the second half devotes itself to their overpublicized trial. Lyle and Eric Menendez are played, respectively, by Damian Chapa and Travis Fine. Edward James Olmos and Beverly D'Angelo costar as the ill-fated parents, while Margaret Whitton is cast as attorney Leslie Abramson. Once past the most lurid aspects of the case-notably the Menendez boys' insistence that their crime was motivated by extreme parental abuse-this 4-hour wallow gets pretty tiresome. Menendez was originally telecast in two parts, on May 22 and 23, 1994. ~ Hal Erickson, Rovi

This made-for-cable version of Arthur Miller's play The American Clock was adapted for television by Frank Galati. Inspired partly by Studs Terkel's oral history Hard Times, and partly by Miller's own recollections, the film is set at the beginning of the Depression. When the stock market crashes, the well-to-do Baumler family (John Rubinstein, Mary McDonnell, Loren Dean) loses everything. The Baumlers are forced to move from their plush penthouse apartment to the less-attractive Brooklyn digs of Mrs. Baumler's sister (Joanna Miles). Twelve-year-old Lee Baumler (Dean), the Arthur Miller counterpart, hits the road to find out how others are coping with the Long National Nightmare. The alternately depressing and uplifting storyline moves along briskly to a surprisingly abrupt climax. Kelly Preston, David Strathairn, Eddie Bracken, Darren McGavin, and Estelle Parson co-star in The American Clock, which premiered over the TNT Cable Network on August 23, 1993. ~ Hal Erickson, Rovi

An ex-championship boxer (James Earl Jones) sees a chance at recapturing a taste of his former glory after discovering that Thunder (Courtney B. Vance), one of the amateurs he trains, has real potential. Unfortunately, Thunder has entangled himself with crooked, gang-connected manager Ralph Tate (Billy Dee Williams), and he is not to let the young fighter go without a fight. This drama was made for cable and was aired as part of Steven Spielberg's "Screenworks" project. ~ Sandra Brennan, Rovi

Will (Will Smith) and Carlton (Alfonso Ribeiro) have carefully planned an intimate and very romantic evening with two French girls, Monique (Kent Masters King) and Renee (Monique Mannen). Alas, this is the very same evening that Will's Aunt Helen (Jennifer Lewis) has chosen to drop by unannounced. Even worse, Aunt Helen is a highly emotional state, convinced that her husband Lester (Felton Perry) is cheating on her. Listen to a quick but pointed reference to Will Smith's recent Grammy Award win. ~ Hal Erickson, Rovi

Will (Will Smith) is asked to be best man at the wedding of his Aunt Janice (Charlayne Woodard)--only to be forbidden from attending the ceremony by his domineering mother Vy (Vernee Watson-Johnson). The reason is both simple and sad: Vy has just learned to her horror that Janice's fiance is a white man (played by future Drew Carey Show regular Diedrich Bader). Vy's anger overflows during the wedding itself, which has a profound effect on the rest of the family. (Ironically, in real life several of the cast members of The Fresh Prince of Bel-Air were the children of biracial parents, or were themselves in biracial relationships.) ~ Hal Erickson, Rovi

Sammy Bodean is the newest, most promising recruit according to the advertisement of the California Angels--and has to prove it come game time. Following the team's sale to young business whiz Gil Lawrence (Terry Kinney), ex-player Virgil Sweet (Edward James Olmos) has to prove himself as the team's talent scout to keep his job. Via a car break-down near a small farm-town in Idaho, Virgil stumbles across young Sammy Bodean (Jeff Corbett) who performs mean pitching skills in a rural sandlot. After bringing Sammy to LA where he pitches out the team's best, owner Gil begins a massive media campaign in which he appears in a press conference and not only brags of the boy's talent but of his intention to feature him--without warm-up or orientation--in the big game the following week. Virgil, though promoted to assistant manager, is upset at Gil's exploitative measures to save the slagging Angels at the expense of Sammy. Game day arrives and the pressure is on to keep the other team swinging, which causes young Sammy to choke. Or not. ~ Kristie Hassen, Rovi

The serialized story structure and barbed social commentary from comic book creator and co-writer Frank Miller earned critical respect in this satirical science fiction sequel directed by Irvin Kershner. Peter Weller returns as RoboCop, a futuristic cyborg fashioned from cutting-edge technology and the biological remains of slain Detroit police officer, Alex Murphy. Still patrolling the city streets, RoboCop is scheduled by his creator, Omni Consumer Products, to be replaced by a new "superior" model, RoboCop 2, that according to designer Juliette Faxx (Belinda Bauer), will contain the human remains not of a cop but a criminal. In the meantime, an instantly addictive drug called Nuke is sweeping through Detroit thanks to a kingpin named Cain (Tom Noonan). Taking Cain to task, RoboCop is captured and dismantled. When he's put back together, the cyborg is reprogrammed with a series of socially conscious commands (in a sly mocking of the then relatively new concept of "political correctness") that render him impotent as a law enforcer. Taking charge by rewiring himself with an electrical overload, RoboCop arrests Cain, who is injured in the process. Faxx secretly takes Cain's brain and inserts it into RoboCop 2, turning the robot immediately into a law-breaking murder machine and leading to a violent showdown between two generations of robotic crime-fighters. ~ Karl Williams, Rovi

Jeff Daniels stars in this tedious situation comedy concerning the middle-aged terror of illness and mortality. Scripted by Joe Eszterhas, Daniels plays Southern Californian Ray Macklin, who thinks he will live forever but realizes the fallacy of his idea when his best friend drops dead in front of him after issuing the set-up to the old joke, "Why don't Italians like barbecues?" (Which begs the question, "Why can't Joe Eszterhas write funny scripts?" The answer: "He did. Showgirls.") Anyway, after that shock trauma, Macklin becomes convinced that he is set to suffer the same fate and, as a result, becomes a raving hypochondriac. As Macklin continually clutches his chest and checks his heart monitor, he sinks himself deeper and deeper into the mindset that he is doomed, even though his tests turn out fine. All of this comes to a head in a bizarre dream sequence in which Macklin imagines Heaven as a Hawaiian resort populated by extras from a Federico Fellini picture. At that point, he wills himself to return to consciousness after surgery to remove his appendix. ~ Paul Brenner, Rovi

In this film, based on a true story, convicted criminal Lee Umstetter (Nick Nolte) is sentenced to life in San Quentin prison, with no possibility of parole. Despairing at his interminable sentence, Lee spends his time reading and educating himself. When he writes and performs a play that attracts the notice of a film critic (Rita Taggart), she sets out on a quest to have him paroled. ~ Iotis Erlewine, Rovi

Though the series proper debuted on Friday, October 3, 1986, L.A. Law was heralded by a two-hour TV movie, which aired Monday, September 15. The Steven Bochco production gets off to a good start, with no fewer than three cases resolved within the first installment. We first meet law-firm partner Michael Kuzak (Harry Hamlin) compromising his personal values with an odious client; our introduction to Arnold Becker (Corbin Bernsen) finds him personally involved in a divorce settlement; and Ann Kelsey (Jill Eikenberry) and Douglas Brackman Jr. (Alan Rachins) spar over a pro-bono case. Also starring is Richard Dysart as senior partner Leland McKenzie, and Jimmy Smits as tyro lawyer Victor Sifuentes. ~ Hal Erickson, Rovi

The Atlanta Child Murders is a five-hour, two-part dramatization of one of the most tragic and controversial homicide cases of the past twenty years. From 1979 through 1982, some 28 African-American children and young adults disappeared from Atlanta--some without a trace, but others to later turn up as murder victims. Part One (which debuted February 10, 1985) details the beginning of the manhunt conducted by the Atlanta Chief of Police (James Earl Jones). Screenwriter Abby Mann uses the actual events as a springboard for his thesis that the case and its outcome revealed many uncomfortable truths about the still-fragile state of race relations in the New South. Both parts of The Atlanta Child Murders were later combined into one 245-minute "feature film."

The second part of the five-hour TV docudrama The Atlanta Child Murders originally aired February 12, 1985. After 28 African-American children and young adults have either disappeared or been murdered, the Atlanta police finally have a suspect in custody: Small-time show business entrepreneur Wayne Williams (Calvin Levels). Scriptwriter Abby Mann utilizes actual court transcripts of Williams' trial, which results in a conviction on one count of murder. This decision in essence leaves the cases of the other 27 victims unresolved--and in so doing, Mann opens the door to speculations that Williams, a black man, was a "convenient" suspect, who might possibly have been railroaded in the authorities' haste to find a solution to the sordid case. Whatever Mr. Mann may have felt concerning Williams' guilt or innocence, the fact remains that the murders and disappearances stopped cold once Williams was in custody (as of this writing, Williams persists in his efforts to reopen the case, claiming that he was framed by the white power structure). Morgan Freeman served as narrator for both installments of The Atlanta Child Murders. ~ Hal Erickson, Rovi