It's a wickedly inventive blend of revisionist history and childhood dread. [17 March 1989, p.45]

As he proved in his screenplay for Moonstruck, John Patrick Shanley has an ear for New Yorkese and a soft spot for eccentrics. Both are in evidence in The January Man, but what could have been an offbeat, original cop movie fails because Shanley can't meet the more conventional requirements of the genre, such as plotting, characterization and suspense. [13 Jan 1989, p.47]

Neither the film nor the play has figured out where to go with Barry Champlain once it plants him at the center of his can-of-worms microcosm. We're never bored by his whiplash flailings, but on screen, as on stage, we can't help asking ourselves to what end they're being deployed. [13 Jan 1989, p.46]

Although we're only two weeks into 1989, we've already got a movie so resoundingly awful that it's bound to stand the test of time and emerge as one of the year's worst. [13 Jan 1989, p.48]

Dirty Rotten Scoundrels essentially remains a duet of exquisitely turned gestures exchanged by Martin and Caine. It isn't killer comedy. Sometimes its leisurely pace veers dangerously close to slackness. But it's as close as Hollywood comedy comes to chamber music. [14 Dec 1988, p.77]

The attempts to supply heart are never more than synthetic, but Schwarzenegger, as the good guy with the good genes, and his goofy sweetness lift Twins into the win column. [9 Dec 1988, p.33]

It falls far short of the lighthandedness, whimsy and feeling it needs to override its slightness. You keep wanting to like it, to match the good will coming out of the actors, but the writing keeps shoving its fabricated nothingness in your face. [09 Dec 1988, p.36]

What sets Tequila Sunrise apart is its layering, its existential dimension. The characters played by Gibson and Russell have been sanded down by a kind of fatalism we normally associate with characters in French gangster movies. There's more than one facet to them. They're entertaining. And urgent. Even when they're just going through routine genre moves, they put laid-back spin on them. [2 Dec 1988, p.29]

Scrooged is that rarest of contemporary Hollywood phenomena -- a Christmas movie with Christmas spirit. [23 Nov 1988, p.21]

From its opening evolution sequence of squiggly things in the water through its references to the great circle of life, The Land Before Time embraces a larger perspective than merely that of the adventure story. It's an affecting work, and a work of quality. [18 Nov 1988, p.29]

Neil Jordan's High Spirits wants to be a supernatural comedy. But it isn't super, it isn't natural, it isn't high, and it isn't spirited. [18 Nov 1988, p.33]

The women here aren't afraid to get extreme about love, but in the end, you sense that they are too sound to destroy themselves over the worthless man they have allowed to personify it. That's what lifts Women on the Verge of a Nervous Breakdown from the amusing to the sublime. [23 Dec 1988, p.23]

Fred Schepisi's "A Cry in the Dark" is a powerful film with a terrific performance by Meryl Streep, her best since "Sophie's Choice." [11 Nov 1988, p.57]

Child's Play is junk fun. [09 Nov 1988, p.95]

once Carpenter delivers his throwback-to-the-'50s visuals, complete with plump little B-movie flying saucers, and makes his point that the rich are fascist fiends, They Live starts running low on imagination and inventiveness. The big alley-fight scene between Piper and David, in which the former tries to punch some awareness into the latter and make him put on the X-ray sunglasses, is as contrived as it is brutal. And the ending isn't much. The acting has the good sense not to try to be anything more than two-dimensional, though, which keeps the entertainment value at a lively comic-strip level. As sci-fi horror comedy, "They Live," with its wake-up call to the world, is in a class with "Terminator" and "Robocop," even though its hero doesn't sport bionic biceps. [4 Nov 1988, p.52]

Most of the time Things Change makes you marvel at how fresh a mob comedy can seem in the right hands. [21 Oct 1988, p.49]

The film belongs to Donohue's cool, toothy slinker, who sports instant fangs when she lures a pimply student into her bath and later shimmies deadpan out of an art nouveau urn when the snake-charming record starts its amplified grooving. [11 Nov 1988, p.61]

The Accused is far from a perfect film, but it's got a terrific performance by Foster, a pretty good one by McGillis, and Lansing's knack for casting women's issues in a form that makes people go see them at the movies. [14 Oct 1988, p.49]

Nair, to her credit, doesn't succumb to any special pleading, which deepens her film's impact. Time and again, you sense that she and her subjects come from a place that believes in film, as "Salaam, Bombay" specifies its world and compels us to inhabit it. [15 Sep 1988, p.68]

Alien Nation quickly abandons any possibility of an equivalently fascinating world for the formulas of a routine cop movie. [7 Oct 1988, p.40]

It's got flashes of brilliance from Tom Hanks as an unstable comedian whose desperation gives his routines their edge. It's also got an embarrassing performance by Sally Field as a frazzled New Jersey housewife who, late in the game, confronts her resentful family and says, "I want to be a mom, I want to be a wife, and I want to be a comedienne." On the whole, Punchline does not wear its schizophrenia well. [7 Oct 1988, p.38]

It's more than a labor of love -- it's a powerful summoning of devoted craft, conveying the pain and complexity of a great musical innovator, avoiding almost totally the usual Hollywood cliches. [14 Oct 1988, p. 53]

There's justification for Hearst's bitter reflection that her real crime consisted in surviving. There's also some intelligent work in Patty Hearst. Still, it's more pat and less disturbing than you feel it should be. [23 Sep 1988, p.56]

In short, "Crossing Delancey" is a joy of a romantic comedy. It's got warmth, brains, heart and humor. So what's not to like? [18 Sep 1988, p.96]

It's a stunningly stylized, fiercely emotional one-of-a-kind film that seals in amber the horrors of a life the director couldn't wait to escape. [18 Sep 1988, p.96]

At first glance, Running on Empty seems a humane, if rickety, left-wing tearjerker, with strong acting propping up a weak script. It takes a second glance to get at what's really interesting about the film - its subtext. [30 Sep 1988, p.33]

Married to the Mob is a funny yard sale of a film about regeneration in a junked-up America. [19 Aug 1988]

It's also [Coppola's] most gloriously extravagant film since "One from the Heart." [12 Aug 1988]