Director Caton-Jones has given the film a few moments of charm and gentleness, though the movie would be a lot more beguiling if it weren't so sure of itself. Its charm has the practiced, impersonal touch of the professional salesman.

Jovovich and Krause are as photogenic and blandly naive as their predecessors, and their ultimate commingling is, if anything, even tamer than in the original. Veteran television-movie director William A. Graham and screenwriter Leslie Stevens have fashioned a 98-minute tropical vacation ad. [02 Aug 1991, p.B]

A rough-edged, talking-heads documentary, directed with skill if not polish by Jennie Livingston, that has found a topic almost unbelievably rich in cultural paradoxes and interpretive possibilities. [09 Aug 1991, p.C]

Trust seems ultimately a matter of touches-some cute, some surprising, some even fairly expressive, but none more than superficial. [16 Aug 1991]

But if Brooks doesn't get the sting of reality he's looking for in Life Stinks, he does succeed with the film's fantasy elements-most memorably, a dance sequence set to Cole Porter's Easy to Love and performed by Warren and Brooks in a colorful used-clothing warehouse.

Archangel is a perfectly self-contained aesthetic object, maddening in its arbitrariness and opacity, yet wholly absorbing in its flurry of urgent yet incomprehensible significations.

Boys N the Hood wants to be “The Learning Tree'' and “Super Fly'' at once, an ambition that doesn't seem quite honest. [12 July 1991]

At her best—and even in a hand-me-down project like Point Break—Bigelow is a uniquely talented, uniquely powerful filmmaker. Where the male action directors are still playing with toys-with dolls and models and matte shots-Bigelow has tapped into something primal and strong. She is a sensualist of genius in this most sensual of mediums.

It is one of the conventions of movies that maladies of the brain make people more childlike, lovable and full of life, as in, most recently, "Rain Man" and "Awakenings." But Regarding Henry drops even the marginally realistic trappings of those films in favor of pure fantasy, a fantasy of starting over, of returning to the womb. [10 July 1991, p.C-1]

Linklater`s creation is delightfully daffy-far better, as one of the slackers puts it, than a sharp stick in the eye.

A good summer movie, directed with great verve and imagination and filled with innovative, eye-popping effects. Cameron never relinquishes his grip on the audience, smoothly segueing from action sequence to action sequence and topping himself each time. [3 July 1991, Tempo, p.1]

If it doesn't make you laugh, nothing will. [28 June 1991]

Drawing purely on his technical skills, Reynolds is finally able to get some momentum going in the picture's final half-hour, when a defeated Robin musters the remains of his band and makes a last-ditch attempt on the Sheriff of Nottingham's castle. It seems to be enough to erase memories of the movie's painfully slow start and send the audience out reasonably happy and stimulated. But Robin Hood does not seem to be the defining blockbuster this summer still needs.

Women get the short end of the stick in the story, but there are big laughs mixed with some pain about growing up privileged. [7 June 1991, p.C-2]