Ted Mahar

Also, it is almost squeaky clean. It's rated PG, but without about four seconds of toilet humor and five seconds of bra ogling, Bill and Ted might have faced an insurmountable challenge: the dreaded G rating. [20 Feb 1989, p.D06]

It sounds like, maybe, a cute Saturday Night Live skit, but as a serious drama, or even as an adventure melodrama -- well, it has plenty of humor, all the wrong kind. [15 May 1988, p.B06]

Joffe does a good job of making a complex project comprehensible to a mass audience with no memory of World War II. Moreover, he infuses drama into an often cerebral project by highlighting the tensions among the characters. [20 Oct 1989, p.E13]

Snipes, a better actor than Bruce Willis or Steven Seagal, is nevertheless not as effective here, a lack for which three screenwriters and director Kevin Hooks must share blame. The latter have packed in every cliche they could, ruthlessly jettisoning any original ideas. [10 Nov 1992, p.G06]

Those who don't go for horror films, period, won't go for this, but those who do will find this one of the more intelligent, better produced outings of late, with a good, continuing stream of sarcastic humor. [30 Oct 1987, p. E13]

Texasville is replete with events and complications, but the same three or four seem to recycle themselves every 15 minutes for two hours. The film is already written off as a bomb, a sunbaked soap opera. Its often sly humor does not offset the sense of slow repetition. [12 Nov 1990, p.C07]

The great physical production of the film may engage some viewers who don't care that the apocalyptic foreground of the novel serves as part of an interesting backdrop for a melodrama. Those who enjoyed the novel should find the film's last five minutes positively nauseating. [9 Nov 1987, p.B09]

Barkin's brilliance can't offset misdirected script for Switch. [11 May 1991, p.C08]

Landis keep things moving smoothly as both a director and supervising editor. He too has an uncharacteristic light touch. The film is simply a happy surprise. [26 Apr 1991, p.R13]

Lonely ends up being confused and repetitious. [27 May 1991, p.B08]

The second half of Pink Cadillac is almost like a perfunctory sequel to a better film. It is slow and aimless, and when it's finally over, the strung-out finale seems especially futile. [26 May 1989, p.F11]

While the whole film is well-made, it has surprisingly few surprises. There are some small ones, but the plot and many details are predictable down to small details. [7 Oct 1988, p.F13]

Like Father, Like Son is amusing, occasionally funny, and swift. [02 Oct 1987, p.E13]

Roughness at least has a few good laughs in the formula. [30 Sept 1991, p.D08]

``Blood'' seems to be sketches for a more comprehensible film which, alas, we will not see. [28 Sept 1992, p.C08]

Dad is something of a sitcom soap opera in which tragic and desperate things happen, and the participants can always snap out a one-liner for the occasion.[28 Oct 1989, p.C08]

It's a safe bet that those who like the music will like the film, and those who don't would find it uncomfortable. But as a combination of historical homage, docudrama and concert film, it is well acted, well filmed and well mixed. [3 Dec 1987, p.E07]

A superb production of a so-so story. [10 Feb 1992, p.C05]

Contrivances grow so outlandish as Cain grinds on that De Palma seems to be parodying himself. His intent is seldom humor, but Cain ends up being more inadvertent comedy than thriller. [07 Aug 1992, p.D01]

Though this non-stop onslaught of nonsense and mayhem is not really worth watching, it is mildly impressive for Sutherland and Phillips. They act their hearts out, as if they thought they were in another movie that deserved a real effort. [05 Jun 1989, p.C05]

Paul Reiser is fine as Emory's tense partner; so is Mercedes Ruehl as a good therapist. J.T. Walsh, always a mean guy, is good here as Emory's venal boss. [13 Apr 1990, p.R13]

This is grim and violent but well-acted, cleverly made and full of suspense. [14 Sep 1990, p.F16]

The last half hour is full of plot twists, turns and pretzel bends. They are imaginative, occasionally funny, and they make some surprises truly surprising. But in the process they leave the last flickering glimmer of credibility back around Minute No. 61. [8 Feb 1992, p.C06]

Coincidental plot puts kiss of death on apathetic film. [29 Apr 1991, p.D05]

Is ``Consenting Adults'' a joke? The question bobs to the surface like a dead catfish about halfway through the Alan J. Pakula suspense melodrama. A barely plausible but engaging premise collapses, crushing credibility like a mouse. [17 Oct 1992, p.C14]

The film simply plods through an endless list of horror movie cliches and accumulating contrivances. For long-suffering viewers, Dr. Giggles evolves into Audience Yawns. [27 Oct 1992, p.D05]

Spaced Invaders is a cute comedy-- cuter and funnier than you might expect. [02 May 1990, p.E07]

Johnson's misplaced serious approach to Marlboro gives this style-heavy romp a few engaging moments. Rourke, looking as if he has new dentures, seems to be playing Bruce Willis. That's aiming low. [27 Aug 1991, p.D06]