Mike Clark

There's a cold intelligence at work here. Though its pleasures are plentiful enough to reward a second viewing, only Nicholson has saved Warners from a wing-clip. [23 June 1989, Life, p.1D]

Overall, though, the movie commands mild respect. Cinematographer Kenneth MacMillan, who also shot Rush, has an ability to keep squalid surroundings from turning into eyesores without polishing them too much. Casey Siemaszko puts his own spin on Curly, the sadistic malcontent who'd like George and Lenny fired from his father's ranch. And however futilely, Sinise and scripter Horton Foote even try to make Curly's doomed Mrs. (Sherilyn Fenn ) more than the one-dimensional sexpot she often is. Bottom line: More mouse than man - but occasionally, a mighty mouse. [2 Oct 1992, p.4D]

There's nothing super about the movie, aside from a loopiness that affords it a certain guilty-pleasure cachet.

A film dealing fully with Hoffman's final years might have had a lot more punch.

A promising debut by young writer/director Jacob Estes, this story of a botched revenge plot still isn't likely to break out even in multiplex August dog days.

Rob Reiner's competent-plus wax job on William Goldman's script is keenly orchestrated manipulation. [30 Nov 1990, p.4D]

A few chuckles will be had by both the rabble and more learned brains.

It won't be a waste of time to watch these people — on cable, and probably not too far in the future.

The story itself is surprisingly seamless, yet it's the individual components that linger.

Has the unanticipated craft and artfully ambiguous appeal of last year's "Croupier," a movie whose art-house word-of-mouth success could be duplicated here.

Broken Toys is beyond repair [18 Dec 1992, p.6D]

Whether we're talking this go-round, the original or the second sequel the finale seems to promise, I'd rather try standing drunk on a see-saw (though maybe not over dirty syringes) than see Saw.

More Mexican mayhem with a you-know-what in 1957's The Black Scorpion, with effects by Harryhausen's mentor, Willis O'Brien. [24 Oct 2003]

It's a sweet tale, but the movie's real subject is Zhang, the camera's muse that the lens adores.

If it's conventional, it's also competent. Thanks to director Charles Stone III (of the famed "Whassuup?!" Budweiser spots), the clichés at least have a good beat.

The movie's success with viewers will depend on whether they think Vaughn is funny or tiresome.

This definitive "life goes on" movie does what Altman does best: juggle 22 characters, deftly switch moods, and offer a comlex warts-and-all characters whose lives seem to extend beyond the screen. Few movies attempt this; Fewer succeed. [1 Oct 1993]

In contrast to big-screen bummers we see every week, this movie conveys genuine sorrow.

The movie, though, is more of the same: another current comedy with want-to-see elements that fails to deliver the goods. [01 Jul 1992]

Suspense takes a vacation in sequel. [13 November 1998, p. 6E]

Consistently compelling without being truly memorable.

The film does what it can to dramatize the bond, but Richter has a disproportionate acting load because his co-star's emoting is below the water line. Happily, he carries it. [16 Jul 1993 Pg. 08.D]

This movie is a howler as well -- possibly even intentionally -- but if it is a black comedy, the joke is overextended by far too many arms and legs. [19 March 1999, Life, p. 13E]

At least a more satisfying basketball saga than last year's "Coach Carter."

Jumbo budget and the same talent notwithstanding, the element of surprise is missing. And ghostbusters, it seems, need that every bit as much as their targets. [16 Jun 1989, p.1D]

Almost everyone in this has done better, and those who haven't, like young Ms. Panettiere, have plenty of time to do so.

The movie's opening half-hour is merely dull, but the final hour is brain-damaging. [11 Dec 1998]

Don't put yourself through this hell.