Edward Guthmann

Cheesy.

The Indian in the Cupboard is such a sweet film, and so lacking in the bloodthirstiness and violence that parents dread in children's films, that its mere existence seems worthy of praise. Too bad, then, that it turned out so dull and lifeless.

It's beautiful to look at, but it's stiffly acted by some of the performers and tends to get ponderous.

An absorbing look at emotional tyranny, with a great screenplay by Ruth Prawer Jhabvala.

Naked Lunch will undoubtedly bring pleasure, much of it perverse, to [David Cronenberg]'s many fans - and, simultaneously, confound and repulse a huge chunk of filmgoers. [10 Jan 1992]

Today, Blade Runner works better than ever: Scott's version not only has more dramatic integrity, but its visual aesthetic and futuristic vision are more in sync with today's movie-goers. [11 Sept 1992]

Rising Sun doesn't work all that well as a thriller: it's far more successful in its old cop/young cop character study, and in its examination of cross-cultural tensions. [30 July 1993, p.C1]

The best scenes are the ones that Fox shares with Tamala Jones, Wendy Raquel Robinson and the full-figured Monique as her sassy girlfriends. There's a ripe, crackling spontaneity when these women get together.

Surprisingly, Potter takes what seemed like a recipe for embarrassment and excess and delivers a film that's sweet and understated and devoid of diva posturing.

4 Little Girls brilliantly captures a moment in American history and tells an achingly painful story of injustice and family loss.

Self-serious, pointless and silly.

[Raimi]'s drawn lovely, complex performances from Paxton and Thornton and proven that he can work effectively -- and movingly -- in a minor emotional key.

Joyously unhinged and outrageously inventive.

This is a sloppy hash of a movie, poorly directed and plotted in a way that looks as if it were improvised on the spot.

Knows its audience and doesn't stint on the flatulence jokes, poop jokes, leg-humping dogs and moments of homo-panic.

A goofy genre-buster that takes its amateur criminals as seriously as ``Pulp Fiction'' or ``Run Lola Run'' did theirs.

Down Periscope makes a surprisingly successful launch, with plenty of brisk one-liners and a promising set-up. But after that auspicious opening, it sinks.

One of the most impressive actor-to-filmmaker transitions in recent years.

Graham Greene ("Dances With Wolves") in one of the year's best performances, he's a fully dimensional character: pathetic and shrewd, tragic and bitterly funny.

It isn't simple bad taste that Formula 51 deals in, but a total vacuum of feeling.

It's tremendously entertaining, and probably worthy of repeat viewings.

Numbskull entertainment.

A marvelous film.

For all the deadpan laughs it delivers, Careful is too self-conscious, too stoned on its own invention and technique to merit sustained attention. It's a marvelous conceit, but ultimately a thin one. [08 Oct 1993, p.C3]

Heartfelt and passionate and brave in what it attempts to explore.

Great pleasures.

Apart from Lawrence's goofing, Blue Streak isn't much of a movie.

A dark, unsettling drama from Italian filmmaker Matteo Garrone.