Hal Barwood Movies

In yet another ostensible thriller about deadly germs wreaking havoc on human life and psyches, this is a frenetic, uneven story about germs going berserk in a sealed-off lab, giving rise to infected humans more berserk than the germs. The lab is secretly developing weapons of biological warfare, and when an accident occurs that immediately seals off the building, it looks as though some of the workers have died from their exposure to the invisible killers. But, lo and behold, these apparent corpses leap up from death and, rabidly homicidal, they can hardly wait to kill off any human in their vicinity. This makes the potential victims about as vicious as their attackers in their need to escape from room to room, turning the lab into a kind of asylum for the homicidally insane. No wonder that chief cop Cal Morse (Sam Waterston) has a job and a half on his hands -- made worse because his girlfriend (Kathleen Quinlan) is in there with the loonies. ~ Eleanor Mannikka, Rovi

The Corvette Ken Dantley's (Mark Hamill) class has been restoring in their high-school shop class is nearly completely fixed up. One day, the students walk in and it is gone - apparently stolen. Ken is larking about in Las Vegas when he spies a car that looks suspiciously like the Corvette he knows so well. He begins looking for the car, but in the meantime Vanessa (Annie Potts), propositions him on the street. Intrigued, he follows the girl back to her van, which is equipped with a waterbed. She hopes to use the van as a travelling brothel, with herself as the bill of fare. Instead, she helps him look for the missing car, and as they search, the two of them fall in love. Though praised by critics, Mark Hamill's second starring feature did poorly at the box-office, and stalled his career. Corvette Summer marks the first star appearance by Annie Potts, perhaps better known for her role in the U.S. television show Designing Women. ~ Clarke Fountain, Rovi

Steven Spielberg followed Jaws (1975), his first major box-office success, with this epic science fiction adventure about a disparate group of people who attempt to contact alien intelligence. Roy Neary (Richard Dreyfuss) is an electrical lineman who, while sent out on emergency repairs, witnesses an unidentified flying object, and even has a "sunburn" from its bright lights to prove it. Neary's wife and children are at first skeptical, then concerned, and eventually fearful, as Roy refuses to accept a "logical" explanation for what he saw and is prepared to give up his job, his home, and his family to pursue the "truth" about UFOs. Neary's obsession eventually puts him in contact with others who've had close encounters with alien spacecraft, including Jillian (Melinda Dillon), a single mother whose son disappeared during her UFO experience, and Claude Lacombe (celebrated French filmmaker François Truffaut), a French researcher who believes that we can use a musical language to communicate with alien visitors. Lacombe's theory is put to the test when a band of government researchers and underground UFO enthusiasts (including Neary) join for an exchange with alien visitors near Devil's Tower, Wyoming. In 1980, a "Special Edition" was released. While its primary selling point was the addition of scenes inside the alien spaceship, Spielberg claimed that he also cleaned up some choppy editing in the second act. ~ Mark Deming, Rovi

Based on an actual incident, Steven Spielberg's first theatrical feature follows the adventures of a Texas outlaw couple striving to keep their family together by any means necessary. Determined not to lose her child to the authorities, Lou Jean Poplin (Goldie Hawn) gets her obedient convict husband Clovis (William Atherton) to break out of jail and help her kidnap their baby from its foster parents. With hostage Officer Slide (Michael Sacks) in tow, the fugitives head across the plains to Sugarland, Texas, pursued by a flotilla of cop cars. Even though Slide becomes the couple's friend, the Law is bent on capturing its criminal quarry. Even though it was greeted with strong reviews, and Hal Barwood, Matthew Robbins, and Spielberg won the screenplay prize at the Cannes Film Festival, The Sugarland Express flopped. The young audience that had embraced the challenging tonal shifts of Bonnie and Clyde and Easy Rider in the late 1960s was no longer so reliably drawn to narrative uncertainties in 1974. The massive success of Spielberg's next picture, the popcorn thriller Jaws (1975), would confirm his suspicion that downbeat films were no longer the way to popular approval. ~ Lucia Bozzola, Rovi