Tom Skerritt Movies

Robert Redford's lyrical direction sets the tone for this evocative adaptation of author Norman MacLean's memoir of his idyllic Montana youth. The MacLean family is presided over by the strict but encouraging Rev. MacLean (Tom Skerritt) and his loving wife (Brenda Blethyn). Craig Sheffer stars as the young Norman, the older son in his family, who takes his school work and writing a bit too seriously for Paul (Brad Pitt), the impetuous younger son, to take much stock in. Paul would rather have a good time, drink and play cards than get involved with academic study. Where Norman wants to be a college literature professor, Paul would prefer to stay in Montana all his life and wrangle some kind of job writing for a local newspaper. But, ironically, Paul is the better fly fisherman and in this way attains a sense of perfection. The film also details the MacLean boys' involvement with a colorful group of town's people -- including a young Indian woman Paul decides to date and the defiant Jessie (Emily Lloyd), whom Norman later marries. ~ Paul Brenner, Rovi

Spoiled-rotten teenager Jessie (Ally Sheedy) can't stand the notion that the whole world doesn't jump to the crack of her whip. Her overindulgent father, millionaire Charles Montgomery (Tom Skerritt), wishes he could teach his daughter a lesson, but can't bring himself to deny his little darling everything her heart desires. Unfortunately, she gets her comeuppance when, after finding out that Jessie has been arrested, her father mutters a wish that she'd never been born. Zap! Enter fairy godmother Stella (Beverly D'Angelo), who grants the wish. With no name, no friends, and no money, Jessie has no choice but to look for work. She is hired as a maid by a filthy rich Malibu couple (Valerie Perrine and Dick Shawn), whose selfish excesses make Jessie look like Pollyanna. Worse still, Jessie is compelled by circumstance to meet up with her father, who doesn't even recognize her. The key to the film's success is the wonderfully many-sided performance of Ally Sheedy. ~ Hal Erickson, Rovi

This is an eerily prescient family adventure starring Kate Capshaw as Andie, a frustrated NASA astronaut who's never actually been into outer space. Her husband, flight controller Zach (Tom Skerritt), is sympathetic, but he can't influence her place in the rotation. Andie is assigned to train a group of intelligent high school students at the summer science camp called Space Camp, which is run by NASA and supervised by her husband. There she meets her campers: Kevin (Tate Donovan), a blasé, horny teenager; Tish (Kelly Preston), an airhead with a photographic memory; Kathryn (Lea Thompson), an arrogant pilot; obnoxious youngster Max (Joaquin Phoenix, then billed under the first name Leaf); and scientist-in-training Rudy (Larry B. Scott). While testing the solid booster rockets aboard a real shuttle, the team is blasted into space accidentally. Without enough air, the discordant team pulls together, each discovering hidden talents. The Challenger space shuttle disaster in January 1986 was bizarrely similar to the events depicted in Spacecamp, with far more horrific results. Its release date pushed back several months because of the tragedy, the film was still a painful reminder to the public of the national calamity, and it consequently grossed only about ten million dollars at the box office. ~ Karl Williams, Rovi

Based on a true story, this film follows the trials and tragedies that befall Walter Reamer (Tom Skerritt) and his wife, Olive (Ellen Burstyn), as they struggle to create a home and raise a family in the brutal Canadian frontier of 1919. ~ Iotis Erlewine, Rovi

One of a cycle of '70s post-Women's Liberation "women's pictures," Herbert Ross's drama uses the ballet world to examine the conflict between family and career. Former dance colleagues Deedee (Shirley MacLaine) and Emma (Anne Bancroft) are reunited when Emma's New York ballet company stops in Oklahoma City for a performance. Having dropped her career for marriage and motherhood, Deedee envies prima ballerina Emma's limelight life; aging Emma, realizing that her days as a star are numbered, wishes that she had the fulfillment of a family like Deedee's. Tensions simmer when Deedee's talented teenage daughter, Emilia (Leslie Browne), moves to New York to join Emma's company. As Emma maternally bonds with Emilia, and Emilia falls in love with womanizing dancer Yuri (Mikhail Baryshnikov), Deedee feels that she's losing her place even as a mother. After Emilia's triumphant debut, Deedee's and Emma's resentments boil over into an all-out catfight that ends when they realize they can unite in happiness for Emilia's future. Splitting the desires to nest and to work between two characters, Ross and writer Arthur Laurents reveal the difficulty faced by women in a world of expanding options. As in Michael Powell's and Emeric Pressburger's seminal ballet film The Red Shoes (1948), dancing and a personal life don't mix, even as the films display ballet's seductive power here in the gracefully integrated numbers by dance stars Browne and Baryshnikov. Despite reservations about its melodramatic aspects, The Turning Point earned box-office success and eleven Oscar nominations (but no wins). Even if its wife/work struggle seems a bit old-fashioned, Deedee's and Emma's final bond suggests that the next generation may not have the same regrets. ~ Lucia Bozzola, Rovi

Fuzz treads the line between raucous comedy and gut-churning melodrama. Based on an "87th Precinct" novel by Ed McBain (aka Evan Hunter), the film stars Burt Reynolds and Jack Weston as, respectively, detectives Steve Carella and Meyer Meyer. Their current assignment is to bring in Deaf Man (Yul Brynner), a mad bomber who has been targeting politicians. A subplot concerning a couple of punks who get their kicks by setting fire to sleeping winos is dramatically justified by the main storyline, but it was this element that caused a lot of trouble for the producers of Fuzz when a pair of real-life teenagers decided to imitate the film. On a lighter note, Raquel Welch co-stars as Detective Eileen McHenry, who is obliged to go undercover -- and under covers -- with fellow officer Bert Kling (Tom Skerritt). And as a bonus, viewers are treated to Burt Reynolds' first "drag" scene. ~ Hal Erickson, Rovi

Originally trade-previewed as Those Crazy Calloways, Disney's Those Calloways is a lengthy, anecdotal film about a highly individualistic New England family. Patriarch Cam Calloway (Brian Keith) is regarded as a crank by the local villagers because of his dream to build a bird sanctuary that will protect migratory geese from hunters. Cam uses all his savings to buy a lake, where he intends to establish his sanctuary. When a wealthy sportsman offers to turn the town into a booming resort community in exchange for hunting rights, Cam opposes the plan, which briefly puts him on the outs with everyone else. Only when Cam is accidentally shot by the sportsman do the locals rally around the "crazy" Calloways so that Cam's sanctuary can come to fruition. The plot of Those Calloways can best be described as picaresque; the film is most successful in establishing mood and atmosphere, and in offering a vast array of distinctive characterizations from such pros as Brian Keith, Vera Miles, Brandon de Wilde, Walter Brennan, Ed Wynn, John Larkin, Parley Baer, John Qualen, and Paul Hartman. Look for young Linda Evans as the girl friend of the oldest Calloway boy (DeWilde) and for future Picket Fences star Tom Skerritt as the town bully. Those Calloways was based on Swiftwater, a novel by Paul Annixter. ~ Hal Erickson, Rovi