Gene Siskel

A shockingly effective portrait of the destructive power of drugs told through the true-life story of English punk rocker Sid Vicious and Nancy Spungen, the American groupie who became his lover.

I think what I like most about Executive Decision is that director Baird constantly tries to top himself. A more experienced director would have ended the film a few crises earlier. But Baird goes for broke in his directing debut, and the result is a most entertaining movie.

Rachael Leigh Cook, as Laney, the plain Jane object of the makeover, is forced to demonstrate the biggest emotional range as a character, and she is equal to the assignment. I look forward to seeing her in her next picture. [29 Jan 1999, p.A]

Days of Thunder, the latest Tom Cruise movie, which is a flimsy but nonetheless compelling story of a hot-shot amateur race car driver who wants to make it in the big-time world of championship stock car racing. Good writing by Robert Towne and a host of strong supporting performances complement the on-the-track visuals of director Tony Scott in giving us a sense of the leap of faith that is required by drivers at this level. [29 Jun 1990, p.C]

We could do without the film's leather sex scenes, but otherwise From Beyond is a decent enough low- budget horror film that delivers what audiences have every reason to expect--a funny, horrific grossout. [24 Oct 1986, p.A]

A heavy, effective dramatization of the effects of the Soweto Uprising of 1976 on a white South African teacher (Donald Sutherland) whose black gardener is murdered by police. This film is unblinking in its depiction of the most violent side of apartheid. Marlon Brando lightens the drama with a colorful cameo as the lawyer hired by Sutherland to combat the state.

It bears repeating that The Lion King is quite entertaining as children's fare goes these days. But Disney has established a standard so high on animated features that anything less than a classic leaves you feeling that something's missing.

A funny, funky trip through a '50s suburban subdivision. [7 Apr 1989, p.A]

A refreshing if obvious drama. [9 June 1989, Friday, p.A]

Far and Away, a mildly old-fashioned romantic melodrama that has as many charming moments as embarrassing ones. Much of the charm is supplied by the earnest performances of Tom Cruise and Nicole Kidman. [22 May 1992]

For many, a little of this joking will go a long way; devoted fans, however, will wish for a double-bill. Count me closer to the latter group.

This film works so well simply because every moment of it is suffused with the joy a new baby brings into the world. Save for a needlessly mean comic shot at an Arab businessman, it couldn't be more appropriate for family viewing. [8 Dec 1995, p.D]

Though critical of the director's selfish character, the story does make a case for the macho man as someone who won't tolerate phonies. [14 Sep 1990, p.C]

The beautifully told but predictable story of two athletes who competed in the 100-meter dash for England in the 1924 Olympics...The film has received choruses of praise prior to its nationwide opening this week. Although it is extremely well made, I frankly don't understand what the shouting is about. Good, yes; great, no. [25 Dec 1981, p.56]

A sometimes very funny comedy. [28 Aug 1992, p.C]

Our rooting interest is not for any macho act by Batman to save the city but for each character to achive some sort of emotional peace. That makes for a strange but refreshing action story.

A sometimes silly, occasionally hilarious, and often sophomoric spoof of airline disaster films in which a passenger tries to land a disabled plane. Some of the jokes are tasteless, but there is a general air of good cheer as the script laughs most of all at the already laughable "Airport" movie series. [11 July 1980, p.3-8]

Though the film resorts to a hackneyed ending, what goes on before is modest but effective terror. [07 Apr 1989, p.A]

But the bottom line is that The Naked Gun 2 1/2 is very funny about such plastic themes as a Barbara Bush look-alike taking a pratfall at a dinner table. [28 June 1991]

The film doesn't have the pace or the scale of Back to the Future, but it does have the same sweet moment when a child declares his love for his parents because he's seen them in a different light. Joey Cramer is quite winning as David.

Caddyshack has a low-budget look that warmly welcomes the all-important teenage audience. It looks like a film they could have made. And everyone associated with the film—in front of and behind the camera—is aware that he or she is making a frivolous film...That's why Rodney Dangerfield's cornball jokes and spritzing barbs are so perfectly right for the film. These are throwaway jokes for a most disposable motion picture, the kind of film that drive-ins were designed to play.

Save for a questionable ending, it's one of the year's best films. [16 Oct 1987, p.A-N]

It so often is a joy to look at and so often a pain to listen to.

Enchanting film.

A visual delight and a dramatic letdown. [10 Jun 1990, p.4C]

A problem with Schrader's script is that he too slavishly follows the Taxi Driver outline, needlessly giving a violent conclusion to Light Sleeper. We sit there noting the resemblance to the 1975 movie more than being absorbed into the drama. Nonetheless, Light Sleeper is emblematic of an era, and is recommended on that basis and on the excellent quality of it acting. We remember the character more than we believe the machinations they've run through.

Director Ken Russell is at his kinky best in this horror story that is adult in its thrills, humor and sexuality. Figuring out who is the worm in the movie is quite easy. But the particulars of Russell's imagination are delightfully outrageous. [11 Nov 1988, p.A]

F/X turns into a dazzling series of deceptions that border on being so topsy-turvy that one almost becomes frustrated with being fooled. But the script of Robert T. Megginson and Gregory Fleeman managed to stay on the right side of credibility and good humor enough of the time so that some rather obvious plot holes can be forgiven.