Michael Crichton is one of the most prolific authors of all time. He always bolstered genre fiction with detailed research. This knowledgeable approach produced tangible worlds and unexpected plausibility, even regarding the fantastic. Early on, he actually studied medicine, which later influenced many of his stories.
This includes the convincing violence throughout his oeuvre, and not just those discussing medicine directly. A powerful cynic, many of Crichton’s novels warn of scientific misuse, but he never sacrificed thrills for opinion. Much of his work easily translated to film because of their high-concept, fun, and brisk plotting. Crichton’s transformative interest in cinema gave his fans unique, intriguing, and memorable adventures.
The Carey Treatment - 6.2
This forgotten little thriller managed to outrank some of Crichton’s more popular entertainment, despite the low vote count. A few of the larger blockbuster adaptations simply failed Crichton’s clever, informed pages. Here, James Coburn plays a pathologist who becomes involved in a bold premise regarding illegal abortion.
It remains a sensitive debate to this day, let alone back in 1972. Unfortunately, this mystery otherwise feels by the numbers—possibly even a result of the source material. Which was actually written under a pseudonym, unrevealed for years. Aside from the comfortable hospital setting, Crichton hadn’t quite developed his winning voice just yet. His thrills subsequently became far more inventive. But this one is predominantly dull, and the adaptation has aged poorly.
Rising Sun - 6.2
This murder mystery explored familiar themes with a unique backdrop—international corporate intrigue. Unfortunately, Crichton’s trademark information dumps and fascinating insight are lost by the wayside, but the movie is still somewhat underrated.
The controversy regarding Japanese representation is warranted, but Crichton seems to be criticizing business politics in general. Putting Americans in an international situation simply helped restrict his protagonists, generating suspense. Sean Connery returns for another Crichton film, and reliably delivers. However, Wesley Snipes feels quite out of place. Additionally, the movie is a tad overlong, dated, and exploitative. However, it achieves precisely what it aims for, and should please its demographic.
Twister - 6.4
Possibly the greatest disaster movie of all time, this breezy, cheesy 90’s hit remains a tremendously fun classic. It was an original screenplay that Crichton worked on, and features an iconic, ensemble cast. They have instant chemistry together, and each is already naturally likable. The playful enthusiasm is infectious, and the CGI disaster sequences still hold up surprisingly well.
The overwhelming noise and visual hyperbole are compelling throughout. It’s also one of the few disaster films that explains why our protagonists keep ending up in danger. But for all the boisterous adventure, the tender moments still feel poignant enough.
The 13th Warrior - 6.6
The film was directed by John McTiernan himself, best known for action classics like the endlessly quotable Die Hard. And Crichton’s novel was a thrilling twist on Beowulf, grounding the fantasy in hazy historical fiction. Treating the entire plot as the academic analysis of an old manuscript, feels like a clever device rather than a gimmick.
Consequently, this is one of the few Crichton novels that didn’t translate well on film. The authenticity of blending fact with fiction is totally lost. And Antonio Banderas has proven himself a talented actor, but he was terribly miscast here. Ultimately, the movie just feels stiff, and even disinterested during its action sequences. The novelty and ferocity of the book are absent altogether.
The Lost World: Jurassic Park - 6.6
This is a divisive outing for fans of the original Jurassic Park. Director Steven Spielberg basically disregarded Crichton’s own sequel. The movie franchise pivoted into a series of summer blockbusters, more interested in monster-movie madness. The original film was a perfect storm of artistry, commentary, plausibility, slick suspense and charming humor.
The discussion of greed and blind scientific power is absent in Spielberg’s sequel, which bluntly challenges all expectations. But Spielberg’s visual flair and undeniable sense of fun are still very enjoyable, and his ability to craft tension remains superior to most. His imagery is potent as ever, armed with mesmerizing effects, and John Williams’ score is terrific as always. This film may have wildly different ambitions, but it mainly succeeds in realizing them.
Coma - 6.9
This film is noticeably dated regarding women, but the performances are generally convincing and the mystery is compelling. Crichton himself took the reins on this one, both directing and working on the script. The former is adequately workmanlike, while the writing delivers confident sincerity. Crichton’s experiences in the medical field clearly attracted him to the unusual authenticity of the source material.
It also offers up sharp criticism on the medical workplace. While most entertainment about doctors still exaggerates to this day, the film’s attitude humanizes their whole environment. Crichton’s movie also bluntly criticizes it, and demystifies hospital politics. The plot unfolds organically, steady and measured, and it is absolutely worth a revisit.
The Great Train Robbery - 6.9
Crichton’s fascination with historical fiction continues, exploring a rollicking heist story inspired by actual events. Like all of his novels, perhaps the most striking thing was the well-defined setting, boasting copious historical factoids. Both the novel and film wield a breakneck pace, but the latter is missing the dense context for total immersion.
Still, Crichton himself wrote and directed the film, making it the most refined experience a fan could watch. It ensured that Crichton’s essentials remained, although the tone shifts into something more playful. The elaborate plan is enjoyably clever, and creates a set of expectations that are exciting to challenge on the big day. With Sean Connery and Donald Sutherland also at hand, the film is definitely sly fun.
Westworld - 7.0
HBO’s massive hit is derived from Crichton’s first corruption of amusement parks. It’s a swift and smart thrill ride, here taken from the humans’ point of view. But the intrigue of AI and its place in our future isn’t lost. Humanlike robots are the perfect agent for Crichton’s sharp and forthright criticism of humanity’s many vices.
There’s intriguing commentary regarding depravity of the rich, and the unpredictability of wanton technological abuse. The movie casually invokes critical thinking while Yul Brynner hauntingly punishes mankind for their arrogance and weaknesses. This movie questions uncontrolled freedoms, both regarding scientific pursuits, and human impulse.
The Andromeda Strain - 7.2
The brilliant source material catapulted Crichton into immense popularity, already harnessing thorough research to generate stunning plausibility. It is the essence of science-fiction, using the familiar to explore potential unknowns. The notion of an unstoppable virus is perpetually believable and terrifying. Making the threat an alien allowed Crichton many freedoms, and welcomes casual viewers who aren’t necessarily scientific enthusiasts.
The film adaptation maintains a satisfying fidelity to Crichton’s work. The appropriately cold, procedural tone actually cements the sense of urgency and authenticity in both mediums. Even without much character development, the premise and science stand on their own. And although the film’s special effects are inherently dated, its strong performances still hold up.
Jurassic Park - 8.1
This is undeniably Crichton’s greatest claim to fame, even eclipsing the profound success of The Andromeda Strain. This classic is filled with provocative commentary, technological intrigue, groundbreaking effects, and plenty of fun. It is the result of everyone working at the best of their abilities. This includes both Crichton’s written work, and the team of artistic giants who realized it.
Blending Spielberg’s family-adventure tone with Crichton’s ferocious thrills and scrutinies formed a perfect balance. Spielberg dialed down the intense violence, and ultimately invited mass audiences to digest Crichton’s pointed themes. This is cinema at its finest—invoking thought, entertaining, and innovating the artistry. And hopefully, films like this will encourage moviegoers to delve into Crichton’s extensive, arresting literature for years to come.
