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Turk 182! (1985)

PG-13 | | Action, Comedy, Drama | 15 February 1985 (USA)
1:19 | Trailer

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Jimmy Lynch is angry because his older brother, who was injured as a result of an off duty fire rescue, is denied benefits by the city. At the same time, Mayor Tyler is embroiled in a ... See full summary »



(story by), (screenplay by) | 2 more credits »
2 nominations. See more awards »



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Cast overview, first billed only:
Steven Keats ...
Thomas Quinn ...
Norman Parker ...
Dr. Salco
Man in Wheelchair
Richard Zobel ...
TV interviewer
TV producer


Jimmy Lynch is angry because his older brother, who was injured as a result of an off duty fire rescue, is denied benefits by the city. At the same time, Mayor Tyler is embroiled in a political scandal that he denies all previous knowledge of. Jimmy begins painting "Tyler Knew, Turk 182" as an embarrassment to the mayor. The mayor is furious at this grafitti appearing all over the city and orders the police to find the artist. Jimmy's "Turk 182" spraypaints continue to appear. Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Add Synopsis


Action | Comedy | Drama


PG-13 | See all certifications »




Release Date:

15 February 1985 (USA)  »

Also Known As:

Das Schlitzohr  »


Box Office

Opening Weekend USA:

$1,589,234, 18 February 1985, Wide Release

Gross USA:

See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

2.35 : 1
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Did You Know?


In one of the hospital Security Ward scenes, where the patients have a pick up game of basketball going on while Terence is in his body cast, 'Robert Urich''s character makes the comment that Larry Bird doesn't do sixty percent success with his free throws. That same year, in the Premiere Episode "Promised Land" and during at least the opening credits of the show's first season, his title character from "Spenser: For Hire" would look on as Larry Bird and the Celtics played a Game at Boston Garden. See more »


At the start when the firemen blast Terry Lynch out of the burning window, you can see the wig come off the stuntman as he falls toward the parked car and after he hits the car, you can see it again. See more »


Det. Ryan: [trying to find out who's behind Turk 182] Just give us the names and addresses of everyone involved.
Terry Lynch: Everyone?
Det. Ryan: Everyone involved.
Terry Lynch: There's the Penguin, the Riddler, Catwoman, Darth Vader, Jack the Ripper, Atila the Hun...
See more »

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User Reviews

New York at its best and worst
15 December 2005 | by See all my reviews

Turk 182! is one of those films that doesn't explain itself. The plot is explained, but the culture and backdrop are not: New York City is presented in all its glory, as the bureaucracy and the politicians who run it are pitted against an injured firefighter (Robert Urich) and his graffiti-artist-turned-political-activist brother (Timothy Hutton), who ensures that neither the Mayor nor the city forget the name "Turk 182!" Kim Cattral appears as Hutton's sidekick/love-interest, and sidecar passenger in his motorcycle, in a role far more "sexier in the city" than anything she turned out in her HBO series. Notables in the remainder of the cast include Robert Culp as the over-the-top mayor who wants to regain control over the "vandalism," and Paul Sorvino in a highly amusing cameo involving the abuse of the Giants' Stadium scoreboard.

In this movie, Turk's brother was injured off-duty while saving the lives of some children during a fire. Since he was drunk at the time, the city refuses to pay his medical expenses, and Turk's activism is born. Like any good graffiti artist, Turk leaves his mark anywhere and everywhere, while eluding law enforcement. As one who was a teenager living in New York City in the 1980s, and who knew several serious graffiti artists, I can say that while the movie was a sanitized version of what they do, they got enough of the flavor of that culture to show its power when confronted with an injustice.

If you've never been to New York, or if you are there now but weren't in the 1980s, the movie is an excellent period piece that will reveal a great deal about the city through its backdrop and subplots, many of which were as or far more interesting than the main plot. New Yorkers generally don't care about anything that doesn't affect them, but when they do, the city literally grinds to a halt, as do the New York politicians who follow their lead.

With so few movies reflecting New York City so accurately, this one is definitely worth watching, and the story it tells, however simplistic and over-the-top in its execution, is still worth telling occasionally in yet another form. This is a very intriguing film.

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