These post-Unforgiven westerns are a tricky business. The classics were mythical morality tales, good vs. evil played out with pistols and black and white hats. But look at today's headlines: Killing is rampant, guns are a plague and violence is no joking matter. The somewhat overlong Tombstone ultimately can't reconcile these conflicting impulses either, but at least it consistently entertains as it tries. [24 Dec 1993, p.C]

Fat Man and Little Boy tries to cover too much territory by introducing corny romantic subplots involving Oppenheimer's mistress and a relationship between a young scientist (John Cusack) and a nurse (Laura Dern). These awkwardly written sequences remind us that we are watching a conventional movie and destroy any documentarylike reality. [20 Oct 1989, p.A]

It's stylish, it's sort of smart, it's full of misplaced talent. But it's not funny enough, and maybe, in a way, not dark enough either.

Oscillates between pragmatist genius and B-movie mediocrity.

In film circles there's a name for pictures like Lifeforce. Film Comment magazine has dubbed them guilty pleasures, movies you're embarrassed to admit you like. Maybe somebody spiked my popcorn, but I can't deny that I liked Lifeforce.

Going in Style stays in the safe zone every second, nervous about risking any audience discomfort, as opposed to Brest's quietly nervy ode to old age and its discontents. Times change.

Though the racing action scenes are initially satisfying, one soon tires of the mountain scenery. And the obvious-from-the-start ending robs the race of whatever dramatic tension it ordinarily might have possessed.

With most of the action confined to the body of the plane (though there is a brief stopover at a Louisiana airfield), the screenplay poses some significant challenges in staging, none of which Hooks seems to recognize or accept. [06 Nov 1992, p.B]

Shot in the same style as “Spinal Tap,” Electric Apricot fails to wow in every way possible, but the music disappoints the most.

The cast's newcomers mix and mingle with ease with the hardened alums of Disney and Nickelodeon TV series.

Well, it's a masterpiece compared with 'Little Fockers,' the last movie featuring Barbra Streisand.

Charlie, who owes an obvious debt to Chuck Jones' Wile E. Coyote, comes equipped with one of the most expressive faces in cartoon history: Bluth keeps his features-ears, snout, mouth, eyes-in constant flux, a beautiful blend of line and volume that represents the pinnacle of the animator's art. [17 Nov 1989]

If an erotic portrayal of John and Elizabeth's sexual inclinations was all director Adrian Lyne had wanted to accomplish, he might have succeeded. But he was not satisfied with that. [21 Feb 1986, p.A]

It's a compelling drama, if only a little hollow. For my money, Pacino's bark is ultimately better than Two For the Money's bite.

Blunt’s derring-do has its stray moments, and her comic wiles are most welcome. But this is blockbustering from a talented director whose talent has been pounded flat by the dictates of a script in the quality range of Disney’s “Lone Ranger.”

Padding disguised as a feature-length screenplay, adapted from Belber's one-act.

The Boss Baby is great fun for parents, but it remains to be seen if kids will get it at all.