Gino Ardito Movies

In Hard to Hold, pop singer Rick Springfield is cast as an immensely successful recording artist named James Roberts. As a result of a fender-bender accident, Roberts meets and falls in love with child psychologist Diana Lawson (Janet Eilber), who is not the least bit impressed with James' wealth or fame. He spends the rest of the picture following Diana all over San Francisco, much to the discomfort of his lovelorn writing partner Nicky Nides (Patti Hanson). ~ Hal Erickson, All Movie Guide

Quincy (Jack Klugman) finds evidence of food poisoning while performing an autopsy on a construction worker who died in a fall just outside the town of Rosewood. Investigating further, Quincy determines that the victim was laid low by contaminated tomatoes, the byproduct of lethal pesticides which a local company has buried in steel drums--which are now apparently leaking. Once the crusading medical examiner sets his sights on forcing the company to assume responsibility for what threatens to be a wide-ranging health disaster, it is obvious that this episode was inspired by the Love Canal/Three Mile Island debacle. ~ Hal Erickson, All Movie Guide

Five terrorists hijack a plane with eighteen passengers, forcing the vessel to land on an LAX runway. During the negotiations between the police and the terrorists, medical examiner Quincy (Jack Klugman) is summoned onto the plane to pick up the body of a passenger who died during the flight. Quincy quickly determines that the man succumbed to a contagious disease--and now he must convince the hijackers to cooperate in his efforts to prevent a medical disaster of doomsday dimensions. ~ Hal Erickson, All Movie Guide

"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind?

Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood. ~ Lucia Bozzola, All Movie Guide

Larry Peerce directed this tired disaster movie about a mad sniper loose in a football stadium. At the beginning, the sniper picks off a cyclist for practice and then takes roost in the top tower of the Los Angeles Memorial Coliseum. Sent in to stop the terror is Captain Peter Holly (Charlton Heston), who wants to get his hands on the sniper without endangering the lives of the people in the stadium. Unfortunately, there is a second group of law enforcement officers, a tactical commando group, who want to go into the stadium and rush the sniper -- regardless of the danger such an action would cause to the crowd watching the game. The sniper plans to start blasting at the two-minute warning signal of the football game. Holly has to find the sniper before the two-minute warning is given -- not merely to prevent the killings threatened by the sniper but to head off the tactical force before any other unnecessary deaths are incurred by the force's bulldog techniques. ~ Paul Brenner, All Movie Guide

Never Love a Stranger--especially if it's young hoodlum Frank Kane (John Drew Barrymore). When it is discovered that his natural parents were Jewish, Kane is removed from the Catholic orphanage that has been his only home. Seething with resentment, he vows to succeed at gangsterdom. He rises spectacularly to the top before his inevitable downfall-and has a high old time doing so. The basis for Never Love a Stranger was a Harold Robbins novel, which obviously drew upon actual people and events; it's quite entertaining to guess who the fictionalized characters are supposed to be. Of the stellar supporting cast, Robert Armstrong is a standout as a soft-spoken gunman. ~ Hal Erickson, All Movie Guide