Arachnophobia marks the directing debut of Frank Marshall, who has worked as Steven Spielberg's producer on many films. He has learned one lesson from Spielberg very well-namely, that getting the small details right about contemporary life can make the most fanciful story seem credible. He also has cast his horror film very unusually well.

There are still some astonishingly tender moments, including looks exchanged between Swayze and Moore that seem magically divorced from this summer of exploding jets, severed limbs and homicidal children. [13 July 1990, Friday, p.D]

It's a particularly great pleasure to encounter Quick Change, a wonderfully loose and graceful character comedy. [13 Jul 990, p.C]

The first starring vehicle for shock comic Andrew Dice Clay, The Adventures of Ford Fairlane, turns out to be the kind of detective spoof worn out 30 years ago by Bob Hope and Jerry Lewis, though refitted with salty language, graphic violence and an attitude toward women that makes the Marquis de Sade look like Phil Donahue. [11 Jul 1990, p.18]

Jetsons: The Movie is a throwaway; with a little effort, it might have been something else. [6 July 1990, p.C]

A smart, spectacular and rousing piece of work, one that strains against but can't quite escape the natural limitations imposed by a sequel. [4 July 1990, p.C1]

Days of Thunder, the latest Tom Cruise movie, which is a flimsy but nonetheless compelling story of a hot-shot amateur race car driver who wants to make it in the big-time world of championship stock car racing. Good writing by Robert Towne and a host of strong supporting performances complement the on-the-track visuals of director Tony Scott in giving us a sense of the leap of faith that is required by drivers at this level. [29 Jun 1990, p.C]

RoboCop 2 is every bit as sadistic as its 1987 predecessor but considerably less effective.

The film flies away in 50 directions, leaving only a vague, unctuous impression behind. [22 Jun 1990, p.C]

A visual delight and a dramatic letdown. [10 Jun 1990, p.4C]

It is indeed the kind of movie - crude and anarchic, filled with shotgun satire and gross-out jokes - designed to drive parents crazy and fill adolescent hearts with joy. For unfastidious adults, too, it's a great time at the movies, maniacally and often breathtakingly funny. [15 Jun 1990, p.B]

This is a generic action picture. What also is missing are scenes in which Nolte and Murphy could relate to each other quietly and with some wit. [8 Jun 1990, p.C]

From first to last frame, Total Recall is in your face. Its rather elegant little science-fiction story is as suffocated as the Martians are. The director has violated his own movie, going so far over the top he's still out there-weightless. [1 June 1990, Friday, p.C]

Part III has the more adult emotions of the original, and with the presence of Steenburgen it recalls the quality of her other fine time-travel romance, "Time After Time." [25 May 1990, p.C]

Though there is an artist's instinct behind Cadillac Man-an instinct that does surface here and there, with a particularly piercing line of dialogue or powerful gesture-it`s quickly blotted out by the Williams formula.

Crass, shoddy and crudely exploitative of the public's worst instincts, John Badham's Bird on a Wire reflects just about everything that's wrong with American movies right now.

The violence of Class of 1999 is so extreme, so redundant and so meaningless that Lester ends by nullifying his own message - it seems that brutality in the name of law and order is wrong, but that brutality in the name of entertainment is just fine. [11 May 1990, p.E]

It's a movie that's too naive to be pornography and too callous to be art. [25 May 1990]

The film's rhythm is sluggish, with gore strategically placed in case the audience nods off. [08 May 1990, p.3C]

Credit for the triumph of this picture must go to West German director Uli Edel, who works on a canvas as large as Sergio Leone's Once Upon a Time in America. [11 May 1990, p.C]

The silliness still outweighs the steaminess. [1 May 1990, p.2]

The film becomes far too explicit much too quickly, as if Friedkin, frustrated by his inability to build a genuine suspense, had decided to move to the main course as quickly as possible. [27 Apr 1990, p.B]

Watching the systemized corruption of Q&A is like watching a traffic accident in slow motion: You can't take your eyes away from the broken bodies and spirits.[27 Apr 1990, p.C]

With its old-timey special effects, multiple plots and silly humor, it scampers through its 102 minutes untethered to the demands of strict logic, continuity or character development. This film is just out to have a good time. Often, it succeeds. [27 Apr 1990, p.D]

A brilliant comeback by a filmmaker, George Armitage, who never should have been away.

A scintillating thriller in which writer/director Gary Sherman takes some familiar sitcom elements and force-marches them in an unexpected and terrifying direction. [11 May 1990, p.D]

It's the premise of Crazy People that what the American public really responds to in advertising is absolute honesty. If that were true, then the ads for the film would proudly point out that "Crazy People" is cloying, derivative and never more than mildly funny. [11 Apr 1990, p.2C]

Whereas the original film had a grain of originality and social commentary in its story of what happens because of the surprise appearance of a Coca-Cola bottle, the new picture offers only tired jokes. [13 Apr 1990, p.C]