Juan Carlos Coto

The movie definitely belongs to the hyper-kinetic Hunter, who originated the role of Carnelle on stage. Still, no matter how many cartwheels or rifle twirls she gives us, Miss Firecracker never becomes more than a pleasant flash. [12 May 1989, p.5]

Not Without My Daughter ultimately does what it's supposed to do. It makes us care, it keeps us interested (mostly), but it rarely delivers more -- despite what the producers might think. [11 Jan 1991, p.G13]

Skin Deep works best when the director delivers his stock in trade -- slapstick and sight gags. [3 March 1989, p.6]

Be warned: King of New York is trash, but it's trash with an attitude. [25 Oct 1990, p.11]

The People Under the Stairs is about nooks, crannies and crevices, and there's allegory everywhere: comments on the horror of our cities, the Ron and Nancy-esque landlords. [07 Nov 1991, p.F7]

The movie continually threatens to become shlock, but the story and serviceable performances hold it together. Still, the three big-name actors don't realize Millennium is a cut above the usual sci-fi flick, and never surprise us with their performances. [29 Aug 1989, p.C5]

Memories of Me is not great cinema, but like the best Hollywood schmaltz, it's delightful. [07 Oct 1988, p.E6]

The director spends nearly two hours groping for a message, but never finds it, mostly because his conflicts rise and fall in 30-minute segments -- like a Family Ties episode. [27 Oct 1989, p.G5]

Being allowed to film in Russia was a blessing and a curse -- Schepisi weighs down the film with endless pans and traveling shots of neoclassical and Russian baroque architecture. All those buildings, monuments and squares. [21 Dec 1990, p.G5]

Even though its story is nothing new, Vice Versa works. [11 Mar 1988, p.C5]

White Palace is formula stuff, but it succeeds on the strength of performances, a clever script and thoughtful direction by Luis Mandoki. [19 Oct 1990, p.G11]