It's fun to see Val Kilmer assume a sort of Young Republican look after his hippie shenanigans in "The Doors," and the story raises some important issues. But there's little else to praise in this pretentious and overlong drama. It was directed by Michael Apted, who should stick to documentaries like his recent and superb "35 Up." [3 Apr 1992, p.12]

The movie doesn't add up to very much, though. It's breezy, likable, forgettable.

Verhoeven's lurid thriller has moments of welcome self-parody, but most of the action manages to be sensationalistic, homophobic, and tedious at the same time. [20 Mar 1992, Arts, p.12]

Joe Pesci has more energy than charm in the title role, but the supporting cast has some terrific moments, and the comedy supplies a fair number of laughs before running completely out of steam.

This romantic adventure is corny fun, and it's amusing to hear Sean Connery's elegant Scottish accent jangle against Lorraine Bracco's feisty Bronx twang. The movie is more picturesque than memorable, though. [13 Feb 1992, p.13]

Mississippi Masala is too ambitious for its own good, but it takes you to parts of the world - and parts of the American scene - that have waited too long for a place on the wide screen.

The characters are engaging, but the story is hackneyed and the filmmaking is dull. So is much of the acting, except by Jessica Tandy, who carries her own energy wherever she goes.

This is the 10 zillionth film about a friendly-seeming villain invading a contented home, but exploitation of child abuse and baby-stealing make this one a particularly nasty business.

Dash deserves great credit for reaching toward a new kind of cinematic structure that blends compassionate character exploration with a deep interest in the world of nature, and a bold willingness to let storytelling take care of itself at its own unhurried pace. One hopes, however, that in future works she will lean more decisively in a single clear direction - toward painterly visualization or toward psychological narrative. [30 Jan 1992, p.12]

Grand Canyon finds Kasdan in firm control of a restrained and intelligent style. Eliciting first-rate performances from a well-chosen cast, he brings these to the screen with graceful eloquence - giving words as much weight as actions.

The story is stylishly filmed and acted with high spirits, but there's not much going on in many of its colorful shots.

Steve Martin and Kimberly Williams do their best with a silly screenplay, and there are a few genuine laughs along the way. [20 Dec 1991]

Controversy and all, JFK is one of the year's most powerful and provocative films.

Much of the movie seems wired and overeager when it ought to be refreshing and relaxed. Everybody sweats and strains to be magical, and while they often succeed, the onslaught of so much aggressive charm is exhausting.

It starts with a promising angle, portraying the perennial conflict between the Federation and the Klingons as an allegory for real East-West relations. But the screenplay does little to capitalize on this. The result is an ordinary science-fiction adventure. [12 Dec. 1991, p.14]

It has weak spots, including bits of mystical mumbo jumbo about a legendary "Indian runner" with a ghostly message. But most of the film is articulate and absorbing.

The film is rude, colorful, and bursting with questions about American culture, subculture, and society. [08 Apr 1991, p.11]

Hal Hartley's new comedy-drama is more cleverly conceived and imaginatively realized than his earlier film, "The Unbelievable Truth," and develops impressive emotional power at times. [16 Aug 1991]

A film of great ambition and accomplishment...Such weaknesses aside, Jungle Fever remains the most thoughtful, provocative, and deeply felt statement on race problems and gender relations to arrive on screen in a very long time - and the funniest and most entertaining to boot.

Truly, Madly, Deeply takes on grief. It is a hard picture to watch at times, because the grieving protagonist is so convincing.

Bill Murray's manic performance is the main selling point of this mildly amusing farce about a psychiatrist with a patient who literally drives him crazy

All the good points together can't make up for the film's mostly soggy acting, particularly by Sean Young and Matt Dillon in the leading roles, or for the technically inept way the voices have been dubbed over the picture - the characters sound like they're reading their lines from a phone booth. Even second-rate Hollywood movies generally have a certain amount of craft and professionalism, but there's precious little here. I say, kiss this one goodbye. [17 May 1991, p.13]

Mortal Thoughts has strong moments, but fails to keep you riveted to the end.

The gifted Zhang Yi-mou directed this gripping and colorful drama, which mingles beauty and perversity in equal proportions. [15 Mar 1991, p.12]

Gene Hackman is excellent when he isn't overdoing his patented nice-guy routine.

Oliver Stone's film paints a reasonably complex portrait of Morrison's life and times. [01 Mar 1991]

Directed by Martin Sheen, the picture works hard to be socially and psychologically penetrating but doesn't quite make the grade. [15 Mar 1991, p.12]

The rest of Franco Zeffirelli's latest Shakespearean outing is so eager to be cinematic, with its peripatetic camera and souped-up screenplay, that it forgets to make sense.