How a Spielberg-conceived television episode transformed into a 1987 big-screen science fiction fable
In short: Originally envisioned as a half-hour segment for the anthology series Amazing Stories, the whimsical tale of mechanical extraterrestrials saving a Manhattan apartment block evolved into a feature film. Directed by Matthew Robbins, the project navigated complex script revisions to become a box office success that still sparks debate today.
Conceived by Steven Spielberg, the story of Batteries Not Included was initially intended for the television anthology Amazing Stories. However, Spielberg opted to expand the concept into a feature film. Mick Garris, a story editor for the series, penned the initial drafts, which were later refined by Matthew Robbins, Brad Bird, S. S. Wilson, and Brent Maddock. The film, released on December 18, 1987, stars Hume Cronyn and Jessica Tandy as an elderly couple fighting to save their East Village home from ruthless property developers.
The narrative centers on the Rileys, who manage an apartment building populated by a diverse group of tenants. When a developer sends a gangster named Carlos to intimidate the residents into leaving, their fortunes shift with the arrival of small, flying mechanical creatures. These beings repair the building and assist the tenants, eventually thwarting the developer's plans. The film explores themes of greed and urban displacement, with some critics viewing it as a subversive critique of materialism, while others found it to be a sweet, family-oriented piece of entertainment.
Commercially, the film performed well, grossing $70.9 million worldwide against a $25 million budget. Critical reception was mixed; Rotten Tomatoes reports a 57% approval rating from 21 critics, and Metacritic assigned it a score of 54 out of 100. Despite the varied reviews, the film remains a notable example of 1980s science fiction, blending human drama with fantastical elements to comment on the changing landscape of Manhattan.
The film's legacy is marked by its unique position in the Spielbergian canon. While Variety noted it lacked the imaginative distinction of similar films, others like Roger Ebert praised its cheerful nature. Harry Sheenan of the Chicago Reader offered a more complex analysis, describing the villain, Carlos, as a victim of capitalism and the final imagery as a poignant reflection on the dominance of property over the human landscape.
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Sources
- Summary by Intellect · source: Batteries Not Included
- Also: Wikidata — Batteries Not Included · CC0
- Also: Wikidata — Batteries Not Included · CC0
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