Jay Boyar

Harrison Ford - that most decent of decent men - helps to carry the new film on his broad shoulders. With his blunt, Everyman features and sympathetically furrowed brow, he comes off as such a solid, good guy that it's impossible not to care about his upstanding character.

The main difference between Naked Gun 2 1/2 and Hot Shots! is that almost half the jokes in Naked Gun 2 1/2 were at least slightly funny while in Hot Shots! less than a fifth are any good at all. [2 Aug 1991, p.C5]

Three Amigos will never get any prizes for excitement or originality, but if there were an award for friendliness, this movie would at least be in the running.

The folks who made The 'burbs appear to be card-carrying members of the School of Non-Urban Humor. Basic to the philosophy of this school is the misapprehension that anything occurring outside city limits is intrinsically amusing.

Most of the time, Soapdish is fairly amusing in a zany, anything-goes kind of way. [31 May 1991, p.5]

Sid & Nancy is an honorable try, but it could have been better had Cox found a way to imbue the movie with some of the sheer zaniness of his Repo Man.

A dull-witted variation on the themes of the original Blue Lagoon, in which two young people (played by Brooke Shields and Christopher Atkins) were stranded on a tropical island.

The Exorcist III isn't crudely exploitative so much as it's just unendurably pretentious. [24 Aug 1990, p.4]

This is the sort of picture in which people slap each other as they take their marriage vows, suddenly develop life-threatening diseases, and, again, have violent confrontations whenever there's a break in the action. Anything for a laugh, anything for a tear, and nothing much authentic.

Movies like this one - with its spoofy jokes, vacant characters and indefensible plotting - do nothing to keep the western form alive. Deal me out of this con game.

The movie contains Jane Fonda's first big-screen appearance since On Golden Pond (1981); if she doesn't quite find a character in Martha, she is nonetheless riveting. Anne Bancroft, too, is impressive. Finally, though, it is Meg Tilly who makes the movie live. Her performance, which works on both realistic and symbolic levels, allows you to believe in the story.

In praising Heart and Souls, I hope I haven't oversold the film. Really, it's kind of thrown together, but it's thrown together in a fun, unpretentious way that makes it an often delightful distraction for a rainy August afternoon. And it'll probably look even better when it shows up on TV. [13 Aug 1993, p.17]

Instead of displaying the grim wit of RoboCop, RoboCop 2 is crude and punishing. [23 June 1990, p.E1]

Longo and Gibson have so little interest in the personalities of the characters that the actors seem like stand-ins for computer-generated images. [27 May 1995, p.A2]

If The Hunchback of Notre Dame isn't for younger kids, it's an ambitious, often stirring film that's easy to recommend for just about anyone else. [21 June 1996, p.17]

Bad Influence has a somewhat effective screenplay, provided by newcomer David Koepp. The dialogue is much sharper in Bad Influence than it was in The Bedroom Window - although the new film's plot could have used more work. [09 Mar 1990, p.5]

If I had to guess, I'd say that the big white "snow" thing is a flimsy combination of cheap plaster, recycled Styrofoam and some poor soul's false hopes. Pretty much like the movie itself. [11 Dec 1998, p.22]

If you get stuck at Striptease, my advice is to relax and try to enjoy its occasional pleasures.

Director Michael Chapman, an experienced cinematographer, is skilled in conveying ideas through pictures -- quite an advantage in a movie about people who aren't especially verbal. And Chapman's cinematographer, Jan De Bont, has a varied palette that responds to the visual demands of a world in transition.

Director Walter Hill (48 HRS., The Warriors) keeps things moving quickly while making sure that the story doesn't get lost amid the slam-bang action. And Hill's comic-book-style visuals are just about perfect for the material. [08 Jan 1993, p.20]

Director Andrew Davis (Seagal's Above the Law) and screenwriter J.F. Lawton (Pretty Woman) handle the early scenes fairly well. As the villains are putting their plan into place, the plot is involving and the pacing brisk. It's only after the bad guys take over the ship that the film begins to degenerate. The staging falls apart almost immediately, and, before long, it's not clear exactly what is happening and where. [06 Nov 1992, p.24]

As it turns out, the three men in Three Men and a Baby haven't got a clue about diapers -- or bottles or formula or anything concerning babies. They're bachelors -- New York yuppies -- who share a fantastic (and, undoubtedly, astronomically priced) apartment in Manhattan. How the lives of the threesome are changed by the new arrival is the crux of this good-natured comedy.

They all help Malkovich to do his thing, and a remarkable thing it is. That terrific performance of his just might be a selling point, after all. [16 Oct 1992, p.17]

The big problem is the script by 24-year-old Jeffrey Abrams (Taking Care of Business), which is clearly intended as a parable about how a self-centered overachiever and his disintegrating family are redeemed by suffering and sacrifice. What it's really about, however, is how those people are turned into a '50s sitcom family - complete with puppy dog, spunky adolescent, devoted mom and dim-but-well-meaning dad.

What's special about Fly Away Home is the delicate yet unsentimental way that Ballard approaches the material. Working from a straightforward script by Robert Rodat and Vince McKewin, he seems to let the story tell itself. [13 Sep 1996, p.23]

Children will undoubtedly enjoy the ninja flick a lot more than their parents will, and it probably won't even give most kids nightmares. But couldn't a steady diet of this sort of thing help to desensitize very young children to real violence? If so, that's awful - not awesome - dudes.

A powerful film - the best and fullest expression of Mamet's brilliantly brutal sensibility to reach the movie screen. [02 Oct 1992, p.19]

The better you remember 1963, the better your chances of liking Mermaids. It's not so much a movie as it is a time capsule. The fun is in seeing what gets pulled out next. [14 Dec 1990, p.8]

Between dragon scenes, Dragonheart falls apart. [31 May 1996, p.17]

Red Rock West is not, in any sense, groundbreaking. When you come right down to it, all Red Rock West really has going for it is its enormous entertainment value. But, hey, that's plenty. [14 Oct 1994, p.31]

What's pleasantly surprising about Gilbert Grape is that director Lasse Hallstrom generally maneuvers quite deftly around his self-created obstacles. In its gently ironic, unforced way, his movie manages to be both uplifting and funny, with the laughs never really being at anyone's expense. [4 March 1994, p.17]

In Bottle Rocket, the small scale and vague amateurishness (especially in the performances) are themselves rather endearing. They seem to go along with the screwed-up characters, as does the loosely structured plot.

My Cousin Vinny is a hoot.

Henry: Portrait of a Serial Killer isn't entirely successful, but it's admirable nonetheless. The film is an honest and disturbing attempt to come to grips with the sort of modern horror that we must - more urgently every day - try to understand.

This is getting a little monotonous, but yes, it's another instant classic. [24 June 1994, p.17]

The film doesn't go deeply enough into Hawking's theories to really explain them, and it doesn't go deeply enough into Hawking's life to impart anything but a sketchy understanding of the man. Still, considering the almost impenetrable subject matter, it's remarkable that Morris has gotten as far as he has.

Though A Perfect World may deserve to be attacked for its casual pacing and occasional clumsy staging, and for one or two less-than-fabulous performances, the darn thing kind of grew on me. [24 Nov 1993, p.E2]

The comedy - it's too cautious, really, to be called a satire - just sort of tap-dances along, hitting all the usual marks without ever straining too hard.

Except for the political implications of the addition of Freeman's character (which he brings off gracefully) and some revisionism about the nobility of the crusades (which, in my opinion, is long overdue), Robin Hood: Prince of Thieves is just an adventure movie - which is basically what I like about it. The second half is stronger than the first because it's swifter and more action-packed. Robin's feats of derring-do are always (as Costner might put it) neat - the more improbable, the better.

Though this film version of James and the Giant Peach is far from a classic, it's both reasonably respectful of its source and consistently enjoyable in its own right. And it passes the acid test of children's entertainment. This movie remembers what fun is.

A simple equation, perhaps, but when it comes to comedy, simpler is frequently funnier. This formula has already worked beautifully in France, where the movie has broken all box-office records and has won three Cesars (the French equivalent of the Oscar) including one for best picture.

The irony is that this movie - which fails to emulate such storybook-based virtues as coherent plotting and characterization - is pretty darn empty itself.[15 Feb 1991, p.6]

If Winkler's heart is in the right place, his head is often somewhere else. There's a great movie to be made about the blacklist period, but this just isn't it. [15 Mar 1991, p.8]

The film is a slugger that keeps hitting you with one obvious image after another. Funny thing, though: Obviousness is sometimes effective. If Rocky IV doesn't kill you, it'll conquer you.

In Under the Cherry Moon, the self-styled auteur is obviously aiming for a romantic tragedy with occasional lighthearted moments. What he ends up with, however, is purest camp.

Superman IV is cinematic kryptonite. Not only could it kill the Superman series, it might also leave filmgoers feeling weak.

All things considered, State of Grace is far from a must-see gangster film. But I guess it'll do until the next one comes along. [05 Oct 1990, p.8]

Quest for Camelot is certainly no improvement on the studio's jangly Space Jam of 1996. [15 May 1998, p.21]

For the most part, you can't go wrong praising the exceptional ensemble cast, either. [28 Aug 1992, p.19]

In Sister Act 2, these energized musical numbers and the sparkling comedy work together in ways that are very hard to resist. And considering how terribly resistible (to me, at least) last year's Sister Act was, the sequel seems like a movie miracle. [10 Dec 1993]

Like a political cartoon, Bob Roberts can sometimes be so overtly political that the humor starts to fade. Toward the end, especially, the movie loses some of its force by forcing the issue too far. But Robbins shows so much energy, intelligence and audacity in his directorial debut that it isn't hard to forgive his excesses. [25 Sep 1992, p.18]

Presumed Innocent is a stylish, dark-toned movie with handsome photography (by Gordon Willis) and solid performances. Without exploiting the sensationalistic elements of the material, director Pakula creates a fascinating mood of impending disaster. If this movie isn't exactly exciting, it definitely holds the viewer's interest.

The biggest fault of Jagged Edge is that whatever suspense it manages to generate in its climactic scenes is achieved artificially, through tricky editing and manipulative "danger" music. The mystery of the murder -- which should be generating the suspense -- is so transparent that I wasn't anywhere near the edge of my seat.

Crude, adolescent and not very funny.

Stone and Bogosian have gotten hold of a disturbing, even frightening, subject here, and they ride it for all they are worth. Talk Radio says that the depravity of the mass media is fed and surpassed by the roar of the maniac crowd.

Easily the best thing about Shag: The Movie is its soundtrack, which combines newer music with such golden oldies as ''Easier Said Than Done,'' ''Up on the Roof'' and the ever-weird ''Alley Oop.'' These tunes (some of which are performed by the 15-member Voltage Brothers) do a lot to keep the mood light and to cover the lapses in the narrative, of which, you can be sure, there are more than a few.

Working from a script she wrote with producer Andy Ruben, director Katt Shea gets some sexy vibes going, and the atmospherically lit production has an unexpected visual distinction.

Bertolucci's latest effort probably won't create much commotion of any kind. But on balance, it isn't a bad little picture. [27 May 1994, p.22]

Under the sweet, gooey surface of Avalon there's a more impressive movie yearning to break free - a finely textured movie about how an immigrant man's love of the performing arts produced a grandson who became an important American filmmaker. [22 Oct 1990, p.C1]

Extreme Measures is far from a classic. But it begins well and sustains its suspenseful tone for about two-thirds of its length...Grant's performance is one of the best things in the movie.

These Elvis clones are just one aspect of the zany atmosphere in this sometimes-entertaining comic romp.

Director Lesli Linka Glatter (NYPD Blue, Twin Peaks) gets nice performances from her young cast, which includes some of the best little actresses working today. Their adult counterparts are fine too. [20 Oct 1995, p.22]

By the soaring standards of Mike Leigh's career, Career Girls (which opens locally today) is a minor work. But minor-league Leigh is better than major-league most other people, especially because he possesses the most emotionally sophisticated sensibility of any contemporary filmmaker.

The real force of Vertigo, though, comes from Hitchcock's intimate depiction of perversity. Seldom has obsession stood so nakedly revealed. [Restored version; 15 Nov 1996, p.20]

The most mortifying way for a rock star to mess up is for him to direct the dumb movies he stars in. This is the Prince Method. [09 Nov 1990]

Emilio Estevez (Stakeout, the Young Guns movies) isn't exactly Michael J. Fox, but he qualifies as a sympathetic hero, and Rene Russo (Major League) is fine - if a bit bland - as his girlfriend. Besides, the real fun is in the supporting cast. Mick Jagger plays a sort of bounty hunter, and although he has only about 2 1/2 expressions, they're good ones. Jerry Hall, who appears very briefly, plays a newswoman with only one expression: You've seen it before, and it is plenty. [21 Jan 1982, p.D1]

If you're on - or even near - the film's wavelength, it's hilarious.

Although the filmmakers are subtle in their methods and unobtrusive in their interviewing style, they make their points forcefully.

Although the picture's biggest problems are the lame writing and limp direction, it doesn't help that the main role requires a comedian, which Arnold just is not. [22 Nov 1996, p.20]

At its best, Fried Green Tomatoes is a pleasantly nostalgic tale wrapped around a murder mystery (which, frankly, isn't all that mysterious). The filmmakers do a decent job of weaving the texture of the thoroughly racist and sexist society within which Idgie, Ruth and the movie's major black characters (played by Cicely Tyson and Stan Shaw) must struggle to preserve their self-respect and, at critical times, their lives. At its worst, the film is unexciting and rambles too much.

For an hour or so, Bigelow (Near Dark, Blue Steel) gets by on that great eye of hers. But about halfway, Point Break breaks down. The plot, which has been unimpressive but not irritating, becomes maddeningly implausible. And the performances, which had been generally engaging, lose their edge.

After watching this hot-and-heavy costume drama, I had to wonder why there are not a lot more like it. Not that I necessarily wish there were, you understand. But this sort of picture has so much going for it from a "date-night" perspective that I'm surprised there are so few of them. [13 Mar 1998, p.20]

White Hunter, Black Heart is no African Queen (or even, really, an especially good movie), but it does manage to stay afloat. [12 Oct 1990, p.6]

The movie doesn't paint a pretty picture, but it paints one that you sense is emotionally true. In the end, the Odones are heroes, not statues of heroes. You may not always like these people, but how can you help but admire them? [22 Jan 1993, p.E1]

The filmmaker's dreamy style has a quiet strength: The bright, rich cinematography is a treat for the eyes and the hypnotic musical score is lulling. [10 Sept 1992, p.E1]

This lovely, tentative motion picture tells a captivating tale. [14 May 1993, p.19]

Aliens is one of the most intensely shocking films to open in ages: Even if you think you've got the stamina for cinematic suspense, you may find yourself out in the lobby, midway, catching your breath. This film is also the best monster movie of the year and the best picture of any kind to open so far this summer. Put it another way: Aliens is the Jaws of the '80s.

JFK is a limp, semi-coherent, boring movie. [20 Dec 1991, p.21]

The Brady Bunch Movie is certainly watchable, which is a lot more than I had been expecting. [17 Feb 1995, p.19]

Not everyone has realized this yet, but with Wayne's World and So I Married an Axe Murderer, Mike Myers has somehow become the first major movie star of the '90s. [30 July 1993]

She's the One has fewer rough edges than The Brothers McMullen, but it also has fewer of the weird little nooks and crannies of personality that were the best things about Burns' debut film.

The entire production is vaguely unsettling. That, in fact, is one of the most engaging things about Babe: Pig in the City. The imaginative art direction, economical editing and sculptural cinematography combine to make this movie one of the year's most distinctive-looking productions.

Half of a wonderful movie is nothing to sneeze at. A love affair that ends badly can still be an affair to remember. [21 Oct 1994, p.27]

This new Sabrina stresses the material's Cinderella love story - the part, that is, that was corny and somewhat dated even in the '50s. What director Sydney Pollack and his screenwriters (Barbara Benedek and David Rayfiel) have done is a little like redesigning the Ford Pinto and keeping the unfortunate old gas tank. [15 Dec 1995, p.19]

In Eat Drink Man Woman, Lee's ingredients are wholesome enough and correctly prepared, and the finished product is attractively presented. There's also some inspiration here - enough, perhaps, for a fine meal but not quite enough for an entirely satisfying motion picture. [16 Sep 1994, p.20]

As in the sketches, the Coneheads are humorously outrageous, but somehow they don't seem quite as humorously outrageous as they did 20 years ago. [23 July 1993, p.6]

Like the hero himself, the movie is larger than life - a horrific fantasy that gets carried away with itself as the mood builds and the tension mounts

LW3 features a lot of violence but not nearly as much as there was in LW2. And Part 3 puts a greater emphasis on the relationships among the characters. [15 May 1992, p.18]

Brando's confusion is understandable. The Freshman is, as he said, a bit of a stinker. But it also contains those moments of high comedy he spoke of. Add Brando's statements together, divide the total by two and you have the right answer about this movie.

Whether Carrey's fans will like it or not, the film is easily his best crafted piece of work to date. [14 June 1996, p.22]

The idea behind Ruthless People is just about irresistible. Much of the fun of this comedy is in watching what happens as virtually everyone in the movie tries to double-cross or otherwise take advantage of everyone else.

There's no mistaking Flight of the Navigator for a really first-rate children's picture like, say, The Black Stallion. But Flight of the Navigator is an enjoyable film that encourages kids to use their heads. Unlike those children's movies that spoon-feed their audiences, this film keeps setting up challenging situations that young moviegoers must think through.

Not only does the new film generally fail to skewer TV's follies, it isn't even as entertaining as television. And I'm not talking about really good television, like Seinfeld and Murphy Brown. I'm talking about the usual stuff, like Three's Company and Mork & Mindy. [17 Aug 1992, p.D2]

If Larry Fishburne is like a Clint Eastwood who can act better, the new film is like a Dirty Harry movie done right. [17 Apr 1992, p.20]

Actually, the rating fits. The movie isn't quite enough fun to qualify for the "average" category, yet not quite lame enough to deserve to be called "poor." [28 June 1991, p.6]

The latest 007 extravaganza has enough plot developments, double-entendres, emotional underpinnings and, of course, Bond girls, action scenes and explosions to furnish at least a couple of Bondfests, with plenty left over for an episode of Nash Bridges.

The intensity of Caruso's close-to-the-vest performance in this absorbing, brutal crime movie suggests that he may have the makings of a big-screen star. [21 Apr 1995, p.29]

For an hour or so The Rookie really cooks, and Clint Eastwood is the main reason why. [07 Dec 1990, p.6]