An engaging and sometimes gripping movie, if ultimately a superficial one. Reiner has mastered the surface skills of moviemaking, although the inner depths continue to elude him. [11 Dec 1992]

Eddie Murphy does his patented routines effectively, and the dialogue has some pungent moments, but the movie doesn't succeed as the "Mr. Smith Goes to Washington" update it would like to be.

Parts of the film are flatly directed...It certainly keeps the audience guessing, though, and few movies explode so many stereotypes. [31 Dec 1992]

It's the best animated fun of the year, and you don't need a lamp or a genie to enjoy it.

Although it's slavishly similar to the original Home Alone, which was a colossal hit, this sequel has lots of color and Christmas warmth to recommend it.

Shots of blood and naked bodies clash bizarrely with Coppola's more quaint and engaging notions; the result may be intended as a dialectical encounter, but seems more like a head-on collision.

The picture is capably acted, especially by Andy Garcia and Uma Thurman, but it's also gory and much too long. [18 Dec 1992, p.12]

It works better as a nature and historical study than as a drama, though.

Hero is a smart and funny movie and also a surprisingly complex one. [02 Oct 1002, p.12]

I must report that Reservoir Dogs has little of intelligence to say - except for a few implicit comments on the nature of loyalty and betrayal - and that it's violent to the ponit of sadism. [5 Oct 1992]

On screen as on the stage, Glengarry Glen Ross is a powerhouse experience - forcefully written, bruisingly performed, and one of the most thoughtful American films in recent memory. [29 Sep 1992, p.11]

A former gang member, his ten-year-old son, and Los Angeles street life are the main concerns of this uneven story, which isn't convincing enough as drama to achieve the consciousness-raising effect that appears to be its goal. [26 Oct 1992, p.12]

A reasonably effective comedy-drama that squarely fits the usual Allen mold. [18 Sept 1992, p.12]

Though a tad lightweight, Tim Robbins's comedy cuts through Hollywood political blather.

Judged by the standards of ordinary filmmaking, it's as strange, suggestive, and surreal as other Lynch pictures have been. Judged by the standards of Lynch's own career, however, it's amazingly stale and second-hand… [and] contains not a single moment of genuinely felt emotion. [1 Sept 1992]

The story is too self-conscious about its offbeat qualities, becoming so cool that it practically freezes on the screen.

Plays out its drama with enough old-fashioned sobriety to lend the proceedings a classical air, offering the comfort of familiarity rather than the thrill of discovery. [13 Aug 1992]

Raising Cain will delight cinephiles with keen eyes and strong stomachs, but general audiences may find it more bothersome than brilliant. [10 Aug 1992, p.11]

Moving from the Dark Ages of old Europe to the Lite Ages of new California, this brash comedy pits a Valley Girl against a vampire. Kristy Swanson heads the likable cast, with Donald Sutherland and Paul Reubens in standout supporting performances. [31 Jul 1992].

Blending animation and live action, this ferocious fantasy is hopelessly vulgar in ways never dreamed of by "Who Framed Roger Rabbit."

It's all very pretty, but its use of motion-picture possibilities is unimaginative. What lifts The Best Intentions above its visual limitations, and makes it seem impressive, is the extraordinary depth and sincerity of Bergman's screenplay.

The pace is a little too languid, and the vulgarity a little too frequent, for the movie to work as intended.

It's not a deep-thinking film, and I wish it probed more thoroughly into the feminist issues it raises, instead of finessing them in a goopy finale. But much of it is first-class summertime fare, generating plenty of humor while examining a slice of Americ ana that's as revealing as it is entertaining.

Unlawful Entry would be an important film if it followed this scene with an intelligent look at the social, political, and institutional problems that lead to such incidents. Unfortunately, the movie isn't serious-minded enough to do this. What could have been an incisive examination of an urgently relevant subject turns into mere melodrama with the usual sex-and-violence twists. [14 July 1992, p.11]

I find it the most adventurous and imaginative American film I've seen this year - and also the weirdest.

What begins as healthy skepticism in Mr. Pyne's screenplay is subjected to so many twists that it grows into sour cynicism, spread thinly over so many characters and events that it los es its impact...This isn't the first time that shallow notions of entertainment value have taken over what could have been a thought-provoking thriller. It's too bad the strengths of "White Sands" aren't parlayed into a more meaningful experience.

Imaginatively directed by Bill Duke, and featuring yet another first-rate performance by Larry Fishburne. [19 Jun 1992, p.12]

This one doesn't have enough zesty ideas to revive the breed.