J. Patrick McNamara Movies

In the tradition of his earlier work in Grapes of Wrath and Twelve Angry Men, Henry Fonda played another social-protest role in the Hallmark Hall of Fame TV presentation Gideon's Trumpet. Clarence Earl Gideon (Fonda) is a poor, ill-tempered Florida handyman who is arrested for petty larceny in 1961. Unable to afford a lawyer, Gideon is sentenced to five years in prison. His treatment by the Florida judicial system, a clear violation of the Fourteenth Amendment, is brought to the attention of the Supreme Court. As a result, a landmark decision is reached, assuring free legal representation for anyone accused of a crime in the United States. Also appearing are Jose Ferrer as Gideon's attorney Abe Fortas, John Houseman (who also produced) as the Chief Justice, and Fay Wray as the owner of the lodging establishment where Gideon lived. Gideon's Trumpet premiered on April 30, 1980. ~ Hal Erickson, Rovi

There are murderous goings on at a sweatshop that specializes in lingerie. ~ Sandra Brennan, Rovi

The "Tall Man" and his strange little Killer Sphere return for a second round in this sequel to the 1979 cult favorite. Mike Pearson (James LeGros) is still plagued by memories of the Tall Man (Angus Scrimm), an evil mortician who has risen from the grave and bleeds embalming fluid -- and tried to kill him as a boy. Mike has been a patient in a mental institution for the last decade, insisting that the Tall Man is real; he still appears in his dreams ten years after their first encounter. When Mike changes his tune and says that the undead undertaker was merely a hallucination, he is finally released. However, Mike and his best friend, Reggie (Reggie Bannister), are actually out to find the Tall Man and put an end to his habits of grave-robbing and draining people's bodies with his flying brain-juicer. As they search for the Tall Man, Mike encounters Liz (Paula Irvine), a woman who has also appeared in his dreams, and she claims that she too has been pursued by the Tall Man. Phantasm II was followed by a third installment in 1994, and a fourth in 1998. ~ Mark Deming, Rovi

Brian De Palma's homage to Michelangelo Antonioni's classic art movie Blow-Up (1966) blends suspense and political paranoia when a Philadelphia soundman inadvertently records a murder. Former police technician Jack Terri (John Travolta) makes his living doing sound for slasher flicks. While recording new outdoor effects one night, Jack witnesses a couple's car careen off a bridge into a river, but he can save only the female occupant, Sally (Nancy Allen). Jack begins to suspect something when he learns that her dead companion was a Presidential hopeful. Re-playing his tape over and over, Jack thinks that he hears a gun shot before the crash-causing tire blow-out. When sleazy photographer Manny Karp (Dennis Franz) comes forward with photos of the accident, Jack discovers the real reason that the naïve Sally was in the car -- and also a way to prove his auditory suspicions through motion pictures. Even with all his surveillance talent, however, Jack cannot see (or hear) how dangerous the big picture really is until it's too late. Taking a break from horror films, De Palma turned his interests in technology and voyeurism toward more politically loaded subject matter at the dawn of the Reagan era; the film's red, white and blue mise-en-scène, "Liberty Day" celebration climax, and conspiracy surrounding political "dirty tricks" suggest that American politics are still rotten, seven years after Watergate. Although Blow Out earned some favorable notice, particularly for Travolta's first "adult" performance, De Palma's downbeat film did not go over well with 1981 summer audiences. Rather than blockbuster escapism, Blow Out instead harks back to 1970s political thrillers like The Parallax View (1974), using cinematic fireworks to tell an unsettling story about one man's struggle against unstoppable corruption. ~ Lucia Bozzola, Rovi

Brian De Palma returns to the mind-blowing potential of telekinesis in the follow-up to his 1976 horror hit Carrie. While vacationing with his psychic son, Robin (Andrew Stevens), and close associate Childress (John Cassavetes), government agent Peter Sandza (Kirk Douglas) survives a terrorist attack, only to discover that it was staged by Childress so he could kidnap Robin for his own nefarious purposes. With the assistance of another psychic (William Finley) and Hester (Carrie Snodgress), an employee at the Paragon Institute for Psychic Research, Peter discovers a telekinetic Chicago high-school girl named Gillian (Amy Irving), who may be able to help him find Robin. Even though they have never met, Gillian can see Robin's memories and experiences telepathically, and she knows that he is in trouble. But Childress knows all about Gillian, too, and he is not about to let Peter's paternal quest get in the way of his plans for harnessing their psychic power. ~ Lucia Bozzola, Rovi

Two pilots go against the rule book in a bid to win the war in Viet Nam in this speculative military drama. Lieutenant Jake Grafton (Brad Johnson) is a U.S. Navy pilot stationed aboard an aircraft carrier after the death of his one-time flying partner Morgan McPherson (Christopher Rich), who perished during a recent, ill-advised mission. Lt. Grafton, who has become cynical about the current state of military affairs, is convinced that if the war were left to the soldiers rather than the politicians overseeing the Pentagon, United States victory would be swift and assured. Grafton shares this opinion with Virgil Cole (Willem Dafoe), a supremely confident new pilot under his command, and together they commandeer an A-6 Bomber, known as The Intruder, for an unauthorized bombing raid against Hanoi. The city had been declared off-limits because it was believed that it would have a negative impact on the Paris peace talks, so the raid lands Grafton and Cole in hot water. However, when the talks break down, President Richard Nixon authorizes the pilots to lead a new strike against Hanoi with everything they've got. Ving Rhames and David Schwimmer both appear in small roles that predated their respective rises to fame (in fact, this was Schwimmer's first movie). ~ Mark Deming, Rovi

In a gender-reversed version of his previous hit Pretty in Pink, John Hughes retreads all-too- familiar ground in Some Kind of Wonderful, the story of a sensitive, young would-be artist, Keith (Eric Stoltz), who vies for the affection of his high school's popularity queen, Amanda (Lea Thompson), seemingly out of some deep-rooted insecurity regarding his social ineptitude. He enlists the help of his butch best friend and fellow misfit, Watts (Mary Stuart Masterson), unaware that she secretly pines for him. While she goads him to give up his pointless pursuit of Amanda, he encounters one other small obstacle -- Amanda's rich bully of a boyfriend, Hardy (Craig Sheffer), who threatens Keith with a face rearrangement. Undeterred, Keith decides he will, by any means necessary, escort his dream girl to the prom -- but not before he buys her expensive jewelry with the money from his college fund in order to impress her. (Hughes expects the audience to side with Keith when his father protests.) Some Kind of Wonderful is pure fantasy, but the plot is too tired and flawed for it to be completely satisfactory escapism. Still, the performances are all-around good and the ending is slightly more likeable than its predecessor's. Hughes decided to use the original Pretty in Pink ending, which had been dropped from the original after poor audience response at the advance screenings. ~ Jeremy Beday, Rovi

Bill and Ted's Bogus Journey find the two obtuse pals battling The Grim Reaper, God, robots, great philosophical questions, and girls -- although not necessarily in that order. In this loose parody of the Terminator movies, directed by Peter Hewitt, the ultimate has happened -- at Bill and Ted University of the future, for many years now the people of the world have been "excellent to each other." But fed-up with Bill and Ted's peaceful world and even more fed up with heavy metal, the evil De Nomolos (Joss Ackland) decides to do something about it. De Nomolos creates a cyborg Bill and Ted, who travel back in time to kill the original Bill and Ted, win the Battle of the Bands and pave the way for the hellish reign of De Nomolos. In the past of 1990, Bill (Alex Winter) and Ted (Keanu Reeves) are immediately dispatched by the time-traveling cyborgs. And while the cyborgs Bill and Ted make time with the real Bill and Ted's girls (Sarah Trigger and Annette Azcuy) and prepare to take the real Bill and Ted's place in the Battle of the Bands, Bill and Ted are forced to deal with Hell ("Just like an Iron Maiden album cover"), the Grim Reaper (William Sadler), and God himself. When Bill and Ted are asked the secret of the universe, they get it right and as a reward a pair of Martians construct a set of "good" Bill and Ted robots to go head-to-head with the "bad" Bill and Ted robots at the Battle of the Bands. ~ Paul Brenner, Rovi

It's December of 1941, and the people of California are in varying states of unease, ranging from a sincere desire to defend the country to virtual blind panic in the wake of the Japanese attack on Pearl Harbor. Thus begin several story threads that comprise the "plot" of this strange period comedy, a sort of satirical disaster movie, from Steven Spielberg. The stories and story threads involve lusty young men, officers (Tim Matheson) and civilians (Bobby Di Cicco) alike, eager to bed the young ladies of their dreams; Wild Bill Kelso, a nutty fighter pilot (John Belushi) following what he thinks is a squadron of Japanese fighters along the California coast; a well-meaning but clumsy tank crew (including John Candy) led by straight-arrow, by-the-book Sgt. Tree (Dan Aykroyd), who doesn't recognize the thug (Treat Williams) in his command; and homeowner Ward Douglas (Ned Beatty), who is eager to do his part for the nation's defense and, despite the misgivings of his wife (Lorraine Gary), doesn't mind his front yard overlooking the ocean being chosen to house a 40 mm anti-aircraft gun. There is also a pair of grotesquely inept airplane spotters (Murray Hamilton, Eddie Deezen) who are doing their job from atop a ferris wheel at a beachfront amusement park; a paranoid army colonel (Warren Oates) positive that the Japanese are infiltrating from the hills; a big dance being held on behalf of servicemen, being attended by a lusty young woman of size (Wendie Jo Sperber) eager to land a man in uniform; and General Joseph "Vinegar Joe" Stillwell (Robert Stack), in charge of the defense of the West Coast, who can't seem to get anyone to listen to him when he says to keep calm. And, oh yes, there's also a real Japanese submarine that has gotten all the way to the California coast under the command of its captain (Toshiro Mifune) and a German officer observer (Christopher Lee), only to find itself without a working compass or usable maps. Its captain won't leave until the sub has attacked a militarily significant, honorable target, and the only one that anyone aboard ship knows of in California is Hollywood. By New Year's Eve, all of these characters are going to cross paths, directly or once-removed, in a comedy of errors and destruction strongly reminiscent of the finale to National Lampoon's Animal House (as well as several disaster movies from the same studio), but on a much larger and more impressive scale. ~ Bruce Eder, Rovi

Love never dies in Brian De Palma's psychological thriller, though money certainly complicates matters. Rich New Orleans real estate developer Michael Courtland (Cliff Robertson) lost his beloved wife Elizabeth (Genevieve Bujold) and their daughter during a botched kidnap rescue, after he chose to let the police try to free them instead of paying the ransom. Sixteen years later, Michael returns to the Tuscan church where he and Elizabeth first met, and he sees Sandra Portinari (Bujold again), the mirror image of his dead wife. Despite the reservations of his long-time friend and business partner (John Lithgow), Michael woos Sandra and brings her back to New Orleans to marry her. Seeing Sandra as his second chance to prove his love, Michael thinks he can finally put the past behind him, but the past is about to catch up with him in ways he never dreamed. ~ Lucia Bozzola, Rovi