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Two-part miniseries starring Zoe Saldana as young mother-to-be Rosemary Woodhouse, who unwittingly finds herself in the midst of a coven of baby-killing witches. Transplants the action of Ira Levin's novel from New York to Paris, seemingly for no reason other than to differentiate itself from Roman Polanski's original adaptation, next to which this version pales into insignificance. Good enough on its own to maintain mild interest -- provided, of course, the unnecessarily explicit and violent scenes with which the story is regularly punctuated serve their purpose in keeping you awake. (Neither Levin nor Polanski needed to resort to such tactics.) Despite its 240-minute length, the film adds very little to the story; its few embellishments -- a meaningless lesbian kiss, for instance, or the idiotic trope of a character who hallucinates then acts as if nothing unusual happened -- distract from the suspense rather than adding to it. No standouts among the performances, either, and Carole Bouquet is certainly no Ruth Gordon as Rosemary's overly-solicitous neighbor. The credits oddly state that the film is based not only on Levin's novel, but his sequel, Son of Rosemary, as well, though one would be hard-pressed to find any material drawn from the latter work, which, after all, takes place more than 30 years after the events of this story.

+1/2

The tagline: "Fear for her." She is Susan Harris (Julie Christie), estranged wife of the creator (Fritz Weaver) of Proteus IV, a thinking machine so far advanced of human capabilities that it devises a cure for leukemia in only four days. The difficulty: the movie has no suspense. Soon after being activated Proteus is questioning its human masters and seeking a way to escape its "box." It infiltrates an open terminal in Harris' house, usurps the environmod that controls its every function, and imprisons Susan so that it can use her body to produce a child. It is so powerful and so superior that Susan never has a chance. A better tagline would have been, "Listen to Proteus." For that is about all we can do, listen as it embellishes its egomaniacal fantasy of taking over the world. (We are, however, rewarded with one nice line, something about Proteus not wanting to make humans obsolete but to so improve on humanity as to make computers obsolete.) Based on the book by Dean Koontz -- the original version, of course, not his 1997 rewrite. Improves on the book in the sense that Proteus itself is slightly more adult (Koontz imagined it as an adolescent with dreams of becoming flesh so as to ravish women), but falls far short in that the book's best feature was the suspense of its first half. Adding nothing to the film are its special effects, which serve clunky machinery on the one hand, and are used, on the other, to produce meaningless light shows that are possibly intended to be profound.