Jay Boyar

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]