[Verhoeven's] cold, slick, funny, high-powered movie is informed by a humanism this genre almost always abandons in its chase after vigilante splat. [17 Jul 1987]

Spaceballs has the happy air of a comic enterprise that knows it's going right. It just keeps spritzing the gags at us, Borscht Belt-style, confidently and rightly sensing that if we don't laugh at this one, we'll laugh at the next. And so we do. After a long dry spell, Brooks is back on the money with Spaceballs. [24 Jun 1987, p.33]

Gray's haunted, obsessional riffs are absorbing theater. Because Demme had the good sense to lay back and not beat them over the head with his cameras, they're equally compelling on film. [27 Mar 1987]

The skies are thick with whizzing bullets and strings being pulled by Shane Black's crude script and Richard Donner's cement-mixer direction. Predictably, the chicks-and-ammo stuff is punctuated by TV cop show repartee. [6 Mar 1987, p.36]

Director Bruce Beresford keeps stars Sissy Spacek, Jessica Lange, and Diane Keaton firmly rooted in the deep, dark black humor of Beth Henley's Pulitzer Prize-winning play. [01 Jul 2014, p.G15]

Obviously, it wasn't the plot that has given Little Shop such a long life. In the case of this film, it's the music, the sets and the comic sketches that make this remake mostly successful. [19 Dec 1986, p.77]

After an hour of biting charm, Something Wild turns into something else. In a twist that turns the movie into a silly story of violence, Demme surrenders his style to a stupid plot. [7 Nov 1986]

The Fly is that rare species of movie - a remake that far surpasses the original and, quite frankly, all expectations. [15 Aug 1986]

This rather simple story, played with stunning conviction by Rourke and Basinger, achieves its apex through director Adrian Lyne's steamy direction. Yet, it's not nasty enough. [14 Mar 1986, p.11]

In Ran, color plays a role not unlike that of language in "Lear": a kind of ground bass of beauty, a product of pure imagination, that both affirms life and surpasses it. Yet Kurosawa uses that beauty more as negation: a reminder not of what man is capable of but how puny he is in comparison.

Clue the movie, not the board game, isn't so much a drama as it is a marketing gimmick. Presumably, Paramount Pictures believed that an audience was clamoring to see actors play one-dimensional figures from a game. [13 Dec 1985, p.57]

Richard Attenborough's film version of the long-running Broadway musical hit A Chorus Line not only avoids the disaster that many had predicted for it, but is often surprisingly effective and enjoyable, transcending its troubled history. [20 Dec 1985]

Pee- wee's Big Adventure is a shrewdly observed, deftly executed looney tune. [9 Aug 1985, p.42]

Silverado plays like a big-budget regurgitation of old Westerns. Whatkeeps it going is the generosity that flows between Kasdan and his actors. It's got benevolent energies, but not the more primal kind needed to renew the standard Western images and archetypes. [10 Jul 1985, p.26]

The best mainstream film since "E.T.," is an uplifting reminder that Hollywood can still produce truly great entertainment...The plot is so exquisitely developed that divulging anything beyond the basic outline might diminish the joyous surprises that await an audience thirsting for originality in a reactionary medium. [03 July 1985, p.57]

The Disney people have taken such obvious care in making Return to Oz that it's a shame it didn't turn out better. It has its moments - mostly visual - but when it isn't a grim downer, it's largely inert. [21 Jun 1985, p.21]

But, fittingly, it's the kids who carry this outing. They're led by Sean Astin, who's rightly more of a dreamer than the others. Jeff B. Cohen engagingly handles the most cliched role, the fat kid who keeps stuffing his face. And I couldn't help wondering if Ke Huy Quan, who played Indy's sidekick in the Temple of Doom, knows that not all movies are made in caves. In any case, you can relax. The Goonies is entertaining despite its calculated flavor. [7 Jun 1985, p.61]

The Purple Rose of Cairo, Woody Allen's tender Valentine to the movies, features poignant performances by Jeff Daniels and Mia Farrow. In the critical rush to canonize Allen, it's easy to forget how far Farrow has come as an actress. [31 May 1985, p.27]

Beyond its fresh twists on the cop and romance genres, Witness is, above all, an anti-consumption film. [08 Feb 1985]

But as good as it is, the film falls short of translating the exaltation and near-gospel music feel of the band in full flight. [2 Nov 1984]

Phar Lap wastes its brilliant potential through embarrassingly inept acting, a cloying soundtrack, stereotyped characters and pedestrian direction. [13 Jul 1984]

The filmmaking team of director James Ivory, screenwriter Ruth Prawer Jhabvala and producer Ismail Merchant, remained loyal to James, assembled a brilliant cast and created one of the best films of the year. [10 Aug 1984]

The Neverending Story, Wolfgang Petersen's sophisticated fantasy film, is so wonderfully appropriate to children that it seems to have been made by kids. But there is enough artistic merit in the tale to enchant adults equally. [20 Jul 1984, p.1]

Screenwriter John Hughes, making his directing debut, is at his best when he empathizes with the sensitivity in the ugly-duckling Ringwald and Hall characters. [04 May 1984]

A heady flow of brilliant stupidity.

It begins promisingly.... But the film has no center, succumbs to drift, and gets away from Hackford. [03 Mar 1984]

With Ted Kotcheff's hackneyed direction and Joe Gayton's cliche-ridden script, this version of "Missing" for the soldier of fortune set is one of the most reprehensible exploitation films of the year.

Fueled by Meryl Streep's performance in the title role, energized by Nora Ephron and Alice Arlen's script and tempered by Mike Nichols' understated direction, Silkwood is a brilliant movie that puts art above polemics, and the facts above speculation. [14 Dec 1983]