Gene Siskel

The biggest surprise with On Golden Pond is that the best performance in the film is not turned in by a Fonda. Rather, it is Katharine Hepburn, in a performance without gimmicks or "great scenes," who communicates so much of the film's emotional power as a portrait of the serenity and anger associated with old age.

This is a movie that redefines the concept of a family picture. Families should see it together because there will be plenty to talk about regardless of how new your crowd is to this country. [19 Oct 1990, p.C]

Gary Busey, Robbie Robertson, and Jodi Foster star in a romantic triangle about some carnival sharpies and a runaway girl. A beautiful portrait of the carnival as an American institution. [18 July 1980, p.8]

Finally, a word about John Candy, the Second City-trained performer who has worked with great success on the "SCTV" shows. Candy, the plump one of the troupe, is more than just a jolly fat man in "Stripes." He becomes one of Murray's allies, because his comic persona allows him to be as sharp-witted as the next man. This is a switch, because the fat man in a comedy usually is the butt of a lot of physical humor...The point is this: Candy deserves to star in his own movie. He's that funny.

These extremely attractive characters deserve a better finish. [8 May 1987, p.7-D]

Disappointing... Jack Nicholson parodies himself while Kubrick fails to provide any thrills. [11 July 1980, p.8]

A bunch of scattered laughs. [22 June 1984, p.5-12]

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

An upbeat, thoroughly entertaining street film about an entertainment revolution in the depressed South Bronx, featuring break dancing, graffiti art and record mixing. A black and Puerto Rican version of Saturday Night Fever. [08 June 1984, p.12]

This odd-couple angle is a terrific formula for a movie, creating at least three stories: The plight of each man, their joint effort to accomplish their goal and the changing dynamic of their relationship as the story progresses. As if that weren't enough, The Falcon and the Snowman also turns into a how-to movie with a fine sense of detail for the worlds of espionage and drugs. But towering over all of this--and even over the angry politics of the film--are two special performances by two extremely talented young actors.

It's a shame that this often cute script couldn't have better served, and been better served by, its actors.

At Close Range is impeccably photographed, and its other technical credits are fine, too. But this excellence serves a dubious, confused cause, and on that basis the film cannot be recommended.

Writer-director Lisa Krueger displays some talent in creating the Mary Kay Place character; I expect more daring work from her next time. [30 Aug 1996, p.2]

An engaging yarn about a wealthy kid who learns to fight his way out of trouble in a rough Chicago public school. He also learns not to believe in labels placed on people. [19 Dec 1980, p.10]

Although the film isn't an empty picture, it is too much of a good thing. Voight delivers a wonderful speech to Roberts about survival, but it's only one of many such monologues. Similarly, Roberts is tiring in his frantic reactions.

It's an old, cliche-ridden story made fresh by Middler's energy.

Arachnophobia marks the directing debut of Frank Marshall, who has worked as Steven Spielberg's producer on many films. He has learned one lesson from Spielberg very well-namely, that getting the small details right about contemporary life can make the most fanciful story seem credible. He also has cast his horror film very unusually well.

The story is not sensationalistic, although its love scene could not be more emotional. It`s a gentle story of someone being brought in from the cold.

Byrne is a major musical artist, as he was shown to be in his rock concert film Stop Making Sense, but as a filmmaker he has barely stretched his muscles. [31 Oct 1986, p.A]

So if you're in the market for a "family" film, Natty Gann qualifies. But that doesn't mean it's a boring, namby-pamby entertainment. Rather, it's that Natty, in her cap and jacket and determined look, is a character with universal appeal. [15 Oct 1985, p.2C]

The Breakfast Clu" is a breath of cinematic fresh air, taking on a very real adolescent problem and offering, in a dramatic way, a possible solution. The film is at its very best when the brainy kid wonders out loud toward the end of the film whether any of his new-found friends will still be his friends come Monday morning. It's a very real question, such being the impulse to conform in high school. A simple "hello" between a jock and a wimp in a crowd is a big risk for both of them. [15 Feb 1985, p.A]

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]

Ford`s character is disoriented from the very beginning of the movie, suffering from jet lag, and you can view the movie as one long tourist`s nightmare. Although the suspense never reaches the level of Polanski`s finest work-there are plot holes that are enormous-the film is well made technically and has so many twists and turns that one can`t help but want stick around to see how it turns out. In other words, you have just read a guarded recommendation.

John Badham's exciting thriller about an L.A. detective (Roy Scheider) who battles against the government creeps who have created a monstrous helicopter to be used for 1984-style crowd control. Great action in a David-versus-Goliath story. [22 July 1983, p.10]

Clint Eastwood's most entertaining film in years, a whimsical fable about a Wild West showman with a dream of turning his rag-tag employees into one big happy family. Great country music mixed with Eastwood's natural charm. [11 July 1980, p.8]

Watching the systemized corruption of Q&A is like watching a traffic accident in slow motion: You can't take your eyes away from the broken bodies and spirits.[27 Apr 1990, p.C]

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

A sometimes-funny, dope related comedy with the team of Cheech and Chong trying to survive in the city while having a very high time. [1 Aug 1980, p.4-10]