TV To Film Movies

Inspired more by the 1960s TV series than by the original Charles Addams New Yorker cartoons, The Addams Family proved to be one of the more successful of the TV shows-turned-movies of the 1990s. The film opens on a recreation of the magazine cartoon wherein the ghoulish Addamses prepare to pour hot oil upon a group of merry Christmas carolers. After a series of vignettes which establish the characters of Gomez (Raul Julia), Morticia (Anjelica Huston), Wednesday (Christina Ricci), Pugsley (Jimmy Workman) and family servants Lurch (Carel Struycken) and Thing (Christopher Hart), the plot proper gets under way. A stranger, played by Christopher Lloyd, shows up on the Addams doorstep, claiming to be long-lost Uncle Fester. It appears, however, that Lloyd is a ringer, in cahoots with attorney Tully Alford (Dan Hedaya) to strip the Addamses of their fortune. In their usual against-the-grain fashion, the Addams Family seems to delight in the possibility that they're being hoodwinked-indeed, not even kidnapping or death threats dampen the Addams clan's joy of living (or should we say dying?). The Addams Family served as the directorial debut of cinematographer Barry Sonnenfeld. ~ Hal Erickson, Rovi

Star Trek II: The Wrath of Khan is fondly regarded as being the closest in spirit to the 1966-69 TV series that spawned it. Admiral Kirk (William Shatner) escapes the tedium of a desk job to join Mr. Spock (Leonard Nimoy) and Dr. Leonard "Bones" McCoy (DeForest Kelley) on another space mission. While boldly going where no man etc. etc., Kirk crosses the path of his old enemy Khan (Ricardo Montalban), who as any die-hard Trekker can tell you, was the chief antagonist in the 1966 Trek TV episode "Space Seed." Leading a crew of near-savage space prisoners, Khan insinuates himself into the Genesis Project, which is designed to introduce living organisms on long-dead planets. Intending to harness this program for his own despotic purposes, Khan engages in battle with the Enterprise crew. ~ Hal Erickson, Rovi

The cult television series Mystery Science Theatre 3000 transfers its brand of science-fiction wisecracking to the big screen with relatively few changes. The concept is the same in series and film: an innocent man (Michael J. Nelson, playing Mike Nelson) is stranded in outer space by a mad scientist, who subjects the poor slob to "experiments" that involve watching the worst movies ever made. In order to survive this cinematic torture, Mike and his two companions, sarcastic robots Tom Servo and Crow T. Robot, mercilessly heckle the film in self-defense. In this case, the target is This Island Earth, a 1950s sci-fi opus that, despite its silly makeup effects and stilted dialogue, actually stands slightly above the usual Mystery Science Theatre fare. Otherwise, despite the larger budget, the film plays as a shorter version of the television show, with the robots and sets purposefully maintaining their ingenious, homemade look. Despite its loyalty to the original concept, many long-time fans found the film less sharp than the series, and the cinematic version failed to attract many viewers beyond the original audience. Nevertheless, it serves as a good introduction for the uninitiated, demonstrating the show's combination of pop culture deconstruction and intelligent, playful humor. ~ Judd Blaise, Rovi

The Cleaver Family makes the jump from the small black and white screen to color and Panavision in this updated version of the classic TV sit-com. Eight-year-old Theodore "Beaver" Cleaver (Cameron Finley) is a good natured kid with a habit of getting in trouble; he's not bad, mind you, just a bit absent-minded. Beaver lives with his 12-year-old brother Wally (Erik Von Detten), his father Ward (Christopher McDonald), and his mother June (Janine Turner) in a small town in Ohio. Beaver wants a new bicycle more than anything, but his father wishes that he had more of an interest in team sports; someone suggests to Beaver that if he joined the school's football team, Ward might be impressed enough to buy him the bike. Beaver signs up, but his skills on the gridiron fall somewhere between slim and none, and the experience proves more than a bit embarrassing for both Beaver and Ward. Before long, Beaver has quit the team, but he tries to hide this fact from his father. Beaver does get his bike -- but he doesn't get to do much with it before it's stolen by a bigger kid in the neighborhood. Meanwhile, Wally's best friend, the mildly sleazy Eddie Haskell (Adam Zolotin), has fallen for a cute girl at school, Karen (Erika Christensen), and wants Wally to help him impress her; however, Karen seems to like Wally more than Eddie. This puts Wally in dutch with his best friend, and Wally feels even worse when he and Karen begin to quarrel. Ken Osmond, who played Eddie Haskell on the original TV series, plays Eddie's father here, and Barbara Billingsley, the original June Cleaver, appears as Aunt Martha. ~ Mark Deming, Rovi

Nora Ephron directed and co-wrote this updated adaptation of a classic situation comedy that also casts a satirical eye on the entertainment industry. Jack Wyatt (Will Ferrell) is a movie star whose career has been going into a slow and steady decline. Desperate for a project that will give his reputation a jump start, Jack agrees to star in a film version of the once-popular television series Bewitched as hapless hubby Darrin Stephens, under the condition that an unknown actress be cast as the female lead so he won't be upstaged. After auditioning dozens of women who fail to make the grade, Jack meets lovely and charming Isabel Bigelow (Nicole Kidman), and is immediately certain she's the perfect choice to play witch-turned-housewife Samantha. However, there's one thing neither Jack nor the producers of the film know -- Isabel really is a witch, and while she's been trying to get along without her powers to better fit in among mortals, she will use her special talents when need be. The film also stars Michael Caine as Isabel's father, Nigel, Shirley MacLaine as Iris Smythson (the actress hired to play Endora), and Jason Schwartzman as Jack's agent. ~ Mark Deming, Rovi

Writer and director Michael Mann updates the groundbreaking television crime series he created in the 1980s with this stylish thriller. Ricardo Tubbs (Jamie Foxx) and Sonny Crockett (Colin Farrell) are two police detectives working undercover in Florida; Tubbs is smart, cool, and resourceful, while Crockett has his own way of doing things, though he stays close enough to the rules to stay out of trouble. Their latest assignment is to get the goods on Arcangel de Jesus Montoya (Luis Tosar), a local drug kingpin whose men are believed to be responsible for a handful of recent murders. In order to infiltrate Montoya's operation, Tubbs and Crockett pose as powerboat racers willing to use their talents to pilot drug-smuggling ships for the right price. The detectives' ruse works, but as they dig deeper into Montoya's inner circle, they become involved in a dangerous operation that will take them to Haiti and Cuba, where neither the Miami Police Force nor the United States government can help them if things go wrong. Crockett also begins walking a risky path when he begins an affair with Isabella (Gong Li), a woman high up in Montoya's organization. Miami Vice marked Michael Mann's third consecutive directorial effort with Jamie Foxx after Ali and Collateral. ~ Mark Deming, Rovi

Master of disguise Sacha Baron Cohen hits the road to explore America as the crude Kazakstani reporter Borat in a feature mockumentary that brings one of the Da Ali G Show star's most popular characters to life on the big screen. Sent by the Kazakh Ministry of Information to gain a better understanding of American culture and bring his findings back home, Borat and faithful producer Azamat (Ken Davitian) set their sights in New York City. When the citizens and interview subjects of the Big Apple seem less than receptive to Borat's distinctively unrestrained approach and the curious Kazakh television personality stumbles across an episode of Baywatch while channel-surfing in his hotel room, he becomes instantly smitten with screen siren Pamela Anderson. Now confident that the only way to discover the true essence of America is to travel to California and make the bikini-clad beauty his bride, Borat purchases a ramshackle ice-cream truck in which he and Azamat will make their way across the Great Plains and on to the sunny West Coast -- all the while coming into contact with a wide variety of "typical" Americans. Within this loose, scripted framework, Borat engages in his usual misbehavior with unsuspecting strangers, from accidentally releasing a chicken from his suitcase on a New York subway ride to a formal interview with Alan Keyes. ~ Jason Buchanan, Rovi

When Alex (Selena Gomez) ruins a family vacation by accidentally casting a horrible spell on her loved ones, Max (Jake T. Austin) works overtime to keep his parents from separating while Alex and Justin (David Henrie) seek out the "Stone of Dreams" in a desperate race to reverse the curse. ~ Jason Buchanan, Rovi

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, Rovi

This 60-million-dollar science fiction suspense drama (marketed with an additional 25 million dollars), was adapted from the popular TV series The X-Files -- arriving in theaters while the Emmy-winning series was still being aired, continuing plot threads familiar to many of the series' 25 million viewers, and featuring several familiar recurring characters introduced during the previous five TV seasons. In 15,000 B.C., a strange creature attacks a caveman. Cut to present day, when a boy at the same North Texas spot falls into a pit and is contaminated by a black substance. When a bomb threatens the Dallas Federal Building, special FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) locate the device but are unable to prevent the explosion. The agency blames Mulder and Scully for the disaster, subjecting them to lengthy interrogations while trying to sever their partnership. In a bar, conspiracy theorist Kurtzweil (Martin Landau), a friend of Mulder's father, tells Mulder about the group behind the explosion, the cover-up of the boy's death, the bodies of four infected rescue workers removed from the Federal Building, the secret government, and the forthcoming plague. Mulder and Scully set out to find answers, and their investigation becomes a foray into the fantastic. ~ Bhob Stewart, Rovi

They're beautiful, they're brilliant, and they can kick your butt -- the most glamorous private eyes in the world are back in action in this big-screen adaptation of the popular '70s television series. Natalie (Cameron Diaz) is the smart but silly one, Dylan (Drew Barrymore) is the tough but fun-loving one, and Alex (Lucy Liu) is the classy but hard-as-nails one, and they work for a man named Charlie (voice of John Forsythe), who never meets his employees face to face. Along with their helper Bosley (Bill Murray), the Angels are sent into action when electronics genius Eric Knox (Sam Rockwell) is kidnapped, with the nefarious Roger Corwin (Tim Curry) as the prime suspect. But they soon learn even bigger danger is afoot -- the kidnappers have gotten their hands on Knox's latest invention, a system that can monitor voice communication from anywhere in the world, virtually ending the notion of private conversation. Charlie's Angels also stars Crispin Glover, Luke Wilson, Kelly Lynch, and Tom Green. ~ Mark Deming, Rovi

Described by director Steven Soderbergh as "Nashville meets The French Connection," this multi-character drama explores the effects of international drug trafficking on all fronts: from their source, to the U.S. border, to the federal government, to the private lives of users. Based upon a miniseries originally aired on Britain's Channel 4, Traffic divides its time among three main storylines and almost a dozen locales. The first and primary plot thread, set in Ohio and Washington, D.C., concerns freshly-appointed drug czar Robert Wakefield (Michael Douglas), whose enthusiasm for his new prestige position is quickly offset when he realizes his 16-year-old daughter Caroline (Erika Christensen) is graduating from recreational drug use to habitual abuse -- a secret that his wife, Barbara (Amy Irving), has kept from him. South of the border, Mexican cop Javier Rodriguez (Benicio Del Toro) attempts to wage his own war on drugs, heading off a cocaine shipment in the middle of the desert with his less-than-virtuous partner Manolo Sanchez (Jacob Vargas). Surrounded by corruption, Javier approaches the drug war with an attitude of patience and compromise, which opens him up to investigation from General Arturo Salazar (Tomas Milian), the country's dubious drug-enforcement liaison to the U.S. Meanwhile, San Diego drug kingpin Carlos Alaya (Steven Bauer) is caught in a sting operation spearheaded by DEA agents Montel Gordon (Don Cheadle) and Ray Castro (Luis Guzman), leaving behind his very pregnant and very oblivious wife, Helena (Catharine Zeta-Jones). At the behest of Carlos' lawyer and shady confidante, Arnie Metzger (Dennis Quaid), Helena decides to carry on the family business -- with tragic consequences. Adapted by Rules of Engagement scribe Stephen Gaghan, Traffic marked Soderbergh's second major release in 2000 after the critical and box-office success of Erin Brockovich, as well as his second feature as cinematographer (credited under the pseudonym Peter Andrews). A favorite with various guild and critics' awards, Traffic won four Academy Awards in 2001, including statues for Best Supporting Actor (Del Toro) and Best Adapted Screenplay (Gaghan), and surprise wins for Steven Mirrone's editing and Soderbergh's direction. ~ Michael Hastings, Rovi

Clark Johnson's big-screen adaptation of the 1970s television series S.W.A.T. stars Colin Farrell as Jim Street, a young special weapons and tactics team member who, in the film's opening sequence, is demoted after his hothead partner Jeremy Renner shoots a hostage while trying to kill her captor. In need of good press, the higher-ups call in SWAT expert Hondo Harrelson (Samuel L. Jackson) to put together an elite team that can bring some luster back to the badge. He chooses Street, veteran T.J. (Josh Charles), and tough single mother Chris Sanchez (Michelle Rodriguez). The new team survives a series of tests before hitting the streets. Their first big assignment involves transporting an international criminal (Olivier Martinez) to federal authorities. The criminal had offered a hundred million dollars to anyone who can bust him out. ~ Perry Seibert, Rovi