A refreshing if obvious drama. [9 June 1989, Friday, p.A]

The film gets by on the sheer good-naturedness Reitman is able to place in all of his efforts, though it doesn't seem likely to inspire the same level of affection as the original. Innocence is one quality that can never quite be recaptured. [16 Jun 1989, p.28]

Called upon to blend the fey and the fiendish, the usually fine Cage is reduced to acting like some kind of combination of Dudley Moore and John Carradine. Throughout, though, he seems to be enjoying it; I can't imagine why. [2 June 1989, Friday, p.E]

The film is utterly lacking in the campy quality of the World Wrestling Federation telecasts.

Renegades steams along very nicely, with more than enough momentum to compensate for the callowness of its stars. [05 Jun 1989, p.3C]

Pink Cadillac is the most graceful, warm-hearted and engaging of Clint Eastwood's comedies. [26 May 1989, p.A]

Fully up to, as well as virtually indistinguishable from, its predecessors… The guarantee of Indiana Jones is that the pace never varies and the tone never changes; when you've had enough, you can feel free to leave. [24 May 1989, Tempo, p.1]

Road House is startling because of the intensity of its violence and because of Swayze`s mindless posturing. A young star has sold himself to become a pinup boy.

See No Evil, Hear No Evil is a strange concoction - a bad taste comedy with a big, beating heart. [12 May 1989, p.B]

There isn't a better time at the movies right now than Earth Girls Are Easy, a delirious pop musical directed by Julien Temple as a widescreen swirl of color and high spirits.

The leap from pointing out the hollow values of advertising to a full-scale attack on capitalism is broad, and in trying to make it, Robinson falls into an abyss of speciousness. Nevertheless, his intensely personal style and vision mark him as one of the most promising filmmakers working in England today. [12 May 1989, p.G]

Director Claire Denis has attempted a meditative mood piece on the intertwined themes of colonialism and forbidden love. It's difficult, in fact, to tell which is the metaphor for which. But while the movie's tone is impeccably muted, and though its horizontally composed images are striking, and its dramatic rhythms are subtle and sure, there is something gnawingly simplistic in the conception. [12 May 1989, p.A]

However you look at it, K-9, a crime comedy starring Jim Belushi, Mel Harris and a German shepherd named Jerry Lee, barks up a few of the right trees. Its moments of hilarity are due entirely to the dog, whose orchestrated growls and grimaces could start a whole new school of dog acting. [28 Apr 1989, p.N]

Add the American work ethic to an Italian bedroom farce, give it to a director reknowned for small, natural, gently humorous films, and you come up with Loverboy, a comedy that is more often distasteful than funny. [2 May 1989, p.7C]

A play based on the most delicately nuanced interactions inevitably loses electricity as a movie. Worse, it becomes predictable. [28 Apr 1989, p.L]

As shrewd and accomplished as the movie is, there's still something uncomfortably manipulative about it... It doesn't explore its primal theme as much as it exploits it, tapping into the automatic, nearly universal power of guilt and regret. [21 Apr 1989, Friday, p.A]

There is a crazed, dark poetry here, but Mary Lambert's direction of Pet Sematary captures none of it, and the film falls into a flat, frequently laughable literalism. [24 Apr 1989, p.C2]

The coarse material, from a screenplay by Seth Winston and Michael J. Nathanson, is roughed up even more by Dragoti's abrasive exaggeration, both of performance (there's a terrifying sequence in which Hicks finally gets her long dreamed-of engagement ring and goes into a frenzy of triumph and delight) and of visual style (visits to the office of sinister shrink Wallace Shawn are filmed in weird expressionist off-angles). [14 Apr 1989, p.D]

Major League is a movie that knows what it's up to. It skims along agreeable surfaces, expertly balancing its comedy with melodrama and fulfilling expectations right on schedule. As a movie, it`s a superior industrial product.

Though the film resorts to a hackneyed ending, what goes on before is modest but effective terror. [07 Apr 1989, p.A]

It's a baffling, unconvincing experience, though it has a few moments of mild charm.

Pyun obviously enjoys filming Armageddon, and Cyborg is visually interesting even at its most preposterous. Everything is in ruins, with enough scenes in burnt-out factories to give new meaning to the term "loft living." Still, the plot is hopelessly confused, there are cuts that don't match and scenes that move suddenly from full sun to late afternoon. [07 Apr 1989, p.B]

Complex, knotty and at times even uncomfortable; its world has a weight and heft that makes its ultimate romanticism seem genuinely transcendant, genuinely magical. [14 April 1989]

The sheer outrageousness of its attitude is enough to make Heathers a very welcome relief in a field dominated by sanctimonious and second-hand virtue. [31 March 1989]

Shelley Long stars in a limp copy of "Private Benjamin" with a location switch from the Army to the Girl Scouts. Long plays a Beverly Hills wife who decides to take over the local troop of spoiled brats. A number of tedious jokes about conspicuous consumption fall flat and Long is no Hawn when it comes to comedy. [24 March 1989, p.A]

A complete disaster, almost certain to kill any more sequels. Chase waltzes through a series of boring costumes and cliches as he journeys to the South to claim a mansion as an inheritance only to find it's a hot property. The script here is anything but a hot property. [24 March 1989, p.A]

A lively, well-made schlock thriller that will doubtlessly be forgotten in two weeks, but in the meantime should provide a few pleasant evenings for fans of the genre.

Munchausen is indeed a beautiful, burgeoning, madly voluptuous movie from minute to minute and image to image; it's in the aggregate that the film fails to find the weight and the rhythm it needs to truly enthrall. [10 Mar 1989, p.A]