Hank Garrett Movies

Colonel Jason J. Halsey is a test pilot for the super-secret Stealth bomber. During one mission, he has a terrible crash and loses consciousness. This special-effects-laden drama follows what happens to him afterward. When Halsey finally awakens he is suffering from total amnesia and finds himself face to face with Dr. Dio Gottlieb, a psychotherapist, who uses a variety of techniques to jog his memory. Gottlieb's tests are grueling and Halsey begins to rebel and even becomes violent. Still the interrogation continues, and eventually, Halsey begins to remember bits and pieces. He knows that he was on some sort of highly- classified mission, but he can't remember exactly what. At one point, the Dr. gets him to remember the climactic crash and the memory is so stressful that Halsey suffers an epileptic fit. The questioning continues and eventually Halsey begins to distrust Gottlieb and even wonders if he has actually been captured by the enemy. Still he must keep on with the process, for without his memories, personal and professional, Halsey has no way of solving the mystery. The colonel's flashbacks are punctuated by excellent virtual reality technology. This film was the first "all digital sound motion picture." ~ Sandra Brennan, All Movie Guide

"You have the right to remain silent . . . Forever!" This sequel to Maniac Cop pits Matt Cordell (Robert Z'dar), the crazed, murderous "Maniac Cop" of the first film (now horribly disfigured after a particularly brutal stay in prison), and Turkel (Leo Rossi), a serial killer who likes to murder strippers, against a frenzied NYPD detective, Sean McKinney (Robert Davi), who is just one step ahead of a nervous breakdown. His nerves don't get much relief when officers Jack Forrest (Bruce Campbell) and Teresa Mallory (Laurene Landon) insist that Cordell is still alive -- not only alive, but unkillable. Then Jack is murdered and the silent Maniac Cop breaks Turkel out of jail. With a group of rancid prisoners, they take police department psychologist Susan Riley (Claudia Christian) hostage. When the prisoners attempt a massive prison break, McKinney musters his forces to hunt down Cordell and Turkel and save Susan. ~ Paul Brenner, All Movie Guide

An unorthodox psychiatrist transports six of her most disturbed patients to a remote desert location for a few days of aggressive group therapy. This leads to lengthy scenes of hammy soul-searching and tedious psycho-babble, until the one of their number disables the group's van and begins picking the others off one by one, triggering a frantic whodunit scenario. If one can get past the initial loopy premise, there are enough twists and scares to keep less-discriminating viewers interested (provided they can stomach the numerous gore scenes); jaded horror fans need not apply, however, since they will surely detect parallels to the slightly superior psycho-thriller Schizoid and figure things out far ahead of the goofy "surprise" climax. ~ Cavett Binion, All Movie Guide

The "boys next door" are Roy Alston (Maxwell Caulfield) and Bo Richards (Charlie Sheen), typical California teens freshly graduated from high school. Daunted by the prospect of the real world, the boys decide to go on one last fling in L.A. But it's not all clean, wholesome fun; in fact, Caulfield and Sheen launch their weekend bash by beating up a gas-station attendant, throwing a glass bottle at an old woman, and murdering gay-bar patron Chris (Paul C. Dancer). Somewhere along the line, Bo becomes repelled by their violence spree, but Roy seems to be sexually aroused by all the misery he's causing. And so it goes, without real rhyme or reason, until the bloody denouement. Director Penelope Spheeris later helmed Wayne's World, The Little Rascals, and The Beverly Hillbillies. ~ Hal Erickson, All Movie Guide

This action movie chronicles the exciting exploits of a crack crime fighting force. They are notorious for their unusual tactics when dealing with criminals. ~ Sandra Brennan, All Movie Guide

In a thinly-plotted story about redeeming a failing hotel by turning it into an optional brothel (depending on the guest), Peter Scolari stars as Elliot, the young man who has to succeed at this hotel business in order to garner the favor of Clifford, his prospective father-in-law (Christopher Lee). Unknown to Elliot and his girlfriend Tracy (Colleen Camp), her father just intends to blast the building to smithereens so he can collect the insurance money. But with Fran Drescher as the head of the contingent of call girls-cum-bellhops, the hotel starts to turn a tidy profit, giving Clifford second thoughts. ~ Eleanor Mannikka, All Movie Guide

Pop singer Neil Diamond stars in this ill-begotten second remake of Al Jolson's seminal 1927 musical The Jazz Singer. The moth-eaten story concerns a cantor's son who desires success as a pop singer, despite the wishes of his imperious father. The film takes place in the present day with Yussel Rabinowitz (Neil Diamond) playing a young (though middle-aged looking) cantor performing at the synagogue of his father (Laurence Olivier). Yussel is married and has settled down to a life of religious devotion to the teaching of his fath. But on the side, he writes songs for a black singing group, and when a member of the quartet takes ill, Yussel covers for him at one of their gigs by wearing blackface! The nightclub engagement is such a success that Yussel abandons his family -- and his father's synagogue -- and leaves his New York home for Los Angeles, hoping to break into the music business. Almost immediately he is spotted by spunky agent Molly Bell (Lucie Arnaz), who books him as an opening act for a touring comic. Yussel hits it big, but his father resents Yussel's forsaking their traditional Jewish ways. His father disowns him, rending his garments and bellowing, "I hef no son!" ~ Paul Brenner, All Movie Guide

"For God's sake, GET OUT!" was the ad campaign for the 1979 shocker The Amityville Horror. The film was based on the allegedly true story of the luckless Lutz family, who move lock, stock, and barrel into a new home, only to find that it is possessed by the demonic spirits of its previous owners. Variations of the Seven Deadly Plagues emanate from virtually every household fixture, while other forms of otherworldly mischief are suffered by the Lutz children. Enter kindly Father Delaney (Rod Steiger), who does his utmost to exorcise the house. The Amityville Horror was frequently greeted with laughs from its first-run audiences, especially after it was discovered that the "actual" events depicted in the film (based on a book by Jay Anson) were complete fabrications. ~ Hal Erickson, All Movie Guide

Don Murray plays Lacy, a blatantly bigoted New York cop who finds that his rabid hatred forces him into a bloody rampage in order to save himself and his job in the derivative cop melodrama Deadly Hero. At one point in the film, Lacy rehearses a speech to be given to a cadre of right-wingers by intoning, "These are troubled times." This is certainly the case for Lacy, since this 18-year veteran of the NYPD has been demoted from detective to patrol car because of his liberal use of deadly force on nasty perpetrators. When Lacy, a lit fuse of seething anger and racial epithets, encounters nasty black mugger Rabbit (James Earl Jones), who is terrorizing young schoolteacher Sally (Diahn Williams) at knifepoint in her apartment, it doesn't take much for the cop to decide to put the thug on terror alert by shooting him. Is Sally grateful for blowing away the object of her torture? To Lacy's surprise, she instead testifies against him, accusing him of being a cold-blooded killer. Now Lacy has to figure out a way out of this high-shootin' mess. ~ Paul Brenner, All Movie Guide

Season Three of Kojak begins with the first episode of a two-part story (originally seen as a single two-hour offering), in which NYPD lieutenant Theo Kojak (Telly Savalas) is out to get the goods on a mob-controlled loan racket. The hoods specialize in killing those who can't pay up, meaning that the witness list is sparse indeed. Kojak's one hope in busting the racket lies with an imprisoned fence, who just may be angry enough to turn on the loan shark who framed him. By contemporary standards, this episode boasts an all-star guest cast: Eli Wallach, Jerry Orbach, F. Murray Abraham and Charles Kimbrough are among the New York-based actors appearing in key supporting roles. ~ Hal Erickson, All Movie Guide

"His code name is Condor. In the next 24 hours, everyone he trusts will try to kill him." As the ads ominously announced, a low-level spook confronts the unfathomable in Sydney Pollack's 1975 political thriller, adapted from the James Grady novel Six Days of the Condor. CIA researcher Joe Turner (Robert Redford) returns from lunch to find the entire staff of his small New York office assassinated. When he meets his boss (Cliff Robertson) at another location to tell him what happened, someone tries to shoot Turner as well. On the run from the cops and his agency, a desperate Turner resorts to holing up with innocent civilian Kathy (Faye Dunaway), who becomes his only ally. Joe decides to save himself the only way possible: by going to The New York Times. But will it work? One of a cycle of conspiracy films from the 1970s that also included The Parallax View (1974) and Redford's All the President's Men (1976), Three Days of the Condor pits a working Everyman (albeit a CIA everyman) against a far-reaching conspiracy, as it also criticizes the CIA during a period of increasing publicity about federal wrongdoing, from the Pentagon Papers through Watergate and other congressional investigations; the challenge of negotiating New York City, shot on location, becomes one more sign of the forces that Joe must face. With its timely subject matter, taut suspense, and sympathetic Redford hero, Three Days of the Condor became a substantial hit. Balancing the conspiracy cycle's pessimism with a margin of attenuated hope, Three Days of the Condor suggests that one man can still discover the truth, but whether it helps him remains to be seen. ~ Lucia Bozzola, All Movie Guide

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, All Movie Guide