A number of good actors, including Kevin Kline and Susan Sarandon, are utterly wasted in this idiotic story, which can't make up its mind whether it's a comedy or a drama. [17 Jan 1989, p.10]

The movie's basic message is that lying and conniving are perfectly all right - as long as you're a swell person inside, like the pert character we're watching here. Working Girl is a fun movie in many ways - don't get me wrong. [25 Jan 1989, Arts, p.11]

The message of the film is that life isn't neat and predictable like a well-arranged business trip; yet everything in the picture is so calculated that there's no life to it. [23 Dec 1988, A& L, p.19]

Bogosian's performance is one of the film's weaker links, however; he misses the full-bodied intensity his character demands.

A second-rate adaptation of the second-rate Choderlos de Laclos novel: two hours of pretty people sitting in pretty rooms and talking about sex. [23 Dec 1988, A& L, p.19]

The story wanders, the plot twists seem contrived at times, and the emotions are never as intense as they might be. But it highlights yet another facet of Hoffman's talent: a gift for monochrome, of all things! And it has a heart as good as Raymond's own. [30 Dec 1988]

The action isn't as consistently funny or surprising this time, but there's a lot of laughter to be found between the merely crude moments. [2 Dec 1988]

It's a beautiful movie to watch, and the cartoony characters are as endearing as they come.

There's some sexually tinged humor and a bit of foul language, but most of the action is lightheaded fun. The picture also has a striking visual style - showing what a strong talent Almod'ovar can be when he focuses his energy on cinematic values, instead of dreaming up provocative stunts that put his work beyond the pale for many moviegoers.

In all, A Cry in the Dark is one of the year's most engaging films, well acted (by everyone except Sam Neill, as Streep's deeply religious husband) and made with a clear sense of social awareness as well as movie-style drama. [25 Nov 1988, p.27]

Too bad director John Carpenter doesn't match this tantalizing premise with snappy, thoughtful filmmaking; long stretches of the movie are trite and silly.

In all, it's “Diner,'' female style. Directed by Donald Petrie from a blatantly manipulative screenplay that took four people to cook up. [24 Oct 1988]

The story sometimes seems hesitant to confront the most harrowing implications of the harsh realities it portrays. But it benefits greatly from Syed's close-to-the-bone performance as the boy.

Whoopi Goldberg has a lot of heart; Neil Patrick Harris gives a sensitive performance as her young friend; and the supporting cast is solid. The screenplay is gushy, though, and director Robert Mulligan rarely tones it down. [14 Oct 1988, p.21]

Bird isn't an easy film, and it doesn't always make an effort to be likable. But it's a dazzler - at least as good as "Round Midnight,'' and that's saying a lot.

Is this misogyny, as some insist, or a critique of misogyny, as others say? Many moviegoers, grossed out by the film's gothic approach to medical matters, won't watch long enough to find out which is the answer. [30 Sept 1988]

Crossing Delancey is a warm and appealing visit with some warm and lovable people - and that's good reason to welcome this ``Moonstruck, Jewish-American Style.''

A fact-filled study that's also a full-fledged work of cinema art. [2 Sept 1988]

Married to the Mob isn't for all tastes. But for cinematic thrills and spills, it's quite a ride.

There are a few hilarious moments, and a few more that are foolish and even disgusting. [15 July 1988, Art and Leisure, p.21]

Endearingly silly, but nowhere near as original or amusing as Pee-wee's Big Adventure a couple of years ago. [22 Jul 1988, p.19]

Grodin is brilliant, though, practically stealing the movie without an extra word or unnecessary gesture. He's an uncommonly talented actor, and it's good to see him in a movie that gives him a chance to show his stuff. [22 July 1988]

It's the year's cleverest comedy in more ways than one. The animated sequences are brilliant... Most important, the story also has dark overtones that lend a hint of seriousness to what could have been just silly. [24 June 1988]

Even if baseball isn't your favorite sport, or if you don't like sports much at all, you'll find something to catch your attention in this smartly made (if unblushingly vulgar) new comedy. [7 July 1988]

Some scenes in a Manhattan hotel have the amiable ring of old-fashioned farce to them, but most of the going is noisy and obvious. [10 Jun 1988, p.21]

There's hardly an original shot in the picture, and the screenplay ignores all opportunities to explore the patterns of poverty and racism that contribute to mob behavior. [22 Apr 1988]

Burns is one of the great entertainers of all time, but he's written out of the story much too soon, leaving us little to watch except Schlatter doing an endless Burns imitation. [08 Apr 1988, p.21]

The screenplay is foolish and Michael Keaton overplays the title role badly, but director Tim Burton gives the comedy a heap of visual imagination. [22 Apr 1988]