To honor the release of the big screen adaptation of Get Smart (with apologies to the earlier Don Adams vehicle The Nude Bomb), we’ve decided to compile a list of some of the movies based on much-loved television shows that probably would have been best left in development. We’ll hope that Steve Carell ensures that his incarnation of Maxwell Smart avoids inclusion on later editions of this list.

• The Dukes of Hazzard – This show wasn’t all that great to begin with so why did it need to move to the big screen? We’re not sure either. Probably would have been better received during the era of films like Smokey and the Bandit and The Cannonball Run. We’re also not sure if that last statement was a compliment or an insult.
• The Honeymooners (2005) – Why? That’s it, just why?
• The Beverly Hillbillies – Replacing Buddy Ebsen with Jim Varney makes this darn near unwatchable. It would be like replacing Jackie Gleason with Cedric the Entertainer in a remake of…oh, wait…never mind.
• Scooby-Doo and Scooby-Doo 2: Monsters Unleashed – These two films are destined to be cult classics but they completely lost us when Scrappy-Doo showed up (and that was at the end of the first film).
• Bewitched – Who would have thought that Will Ferrell would have made a markedly unfunny movie based on this beloved sitcom. But, that’s exactly what happened and it is barely watchable.
• Wild Wild West – This is a great example of studio-tampering run amuck. Will Smith and Kevin Kline are totally wasted in this mess. Oh, and what’s with the giant mechanical spider anyway? We’re asking you Jon Peters!
• The Avengers – Does anyone else still have nightmares about those homicidal day-glow teddy bears?
• Thunderbirds – A live action version of the cult favorite featuring creepy marionettes. This had all the makings of a campy classic itself until it turned into a flimsy kid-empowerment picture (a narrative that was pulled off with much better results in The Incredibles).
• Miami Vice – At least Michael Mann saw fit to destroy his own legacy rather than let some director-for-hire such as Brett Ratner swoop in and steal the glory by producing their own overly violent and pointless update of the seminal 1980s crime drama.