Is there enough reason for Gary Sinise to have remade Of Mice and Men? You can respond to Steinbeck’s qualities of feeling in the movie, but Sinise, who directed as well as stars as the itinerant ranch hand George opposite John Malkovich’s hulking, feeble-minded Lennie, doesn’t really make the material his own. It’s a “distinguished” piece of filmmaking in that somewhat lifeless, classical tradition where all the actors seem a bit too posed to be believable and all the colors seem too bright and varnished.

Haphazard and erratic, involving only in fits and starts, Hero’s core is nevertheless so shrewdly and gleefully cynical about public heroism and the cult of celebrity it is impossible not to be at least sporadically amused and entertained.

Tarantino's palpable enthusiasm, his unapologietic passion for what he's created, reinvigorates this venerable plot and, mayhem aside, makes it involving for longer than you might suspect. [27 Oct 1992]

The Last of the Mohicans comes at you like a tomahawk. Hard, fast and brutal, it slashes at your throat and just about leaves you for dead. Undeniably exciting as this definitely is, however, its impact comes at the expense of some of the gentler virtues, qualities that even top-drawer barn-burners really shouldn't ignore.

There are marvelous moments from Don Rickles as Sal’s nouveau riche attorney--"Don’t murder a cop on my front lawn!” he exclaims hilariously--and from Elaine Kagan as his terror-stricken, lacquered wife. There are also plenty of unbilled cameos, a Landis trademark, along with moments from beloved old films glimpsed on TV.

This superman approach to character doesn't jibe with David's crisis of conscience. His smothering of his Jewish identity may make dramatic sense, but, the way it's enacted, it doesn't make much psychological sense. As Fraser plays him, David has such a robust sense of identity that his covertness isn't really believable. We keep hoping the film will turn into a movie about a kid who declared his Jewishness and fought the consequences.

Captain Ron is a movie about trapped suburbanites who break out into romantic seas, but it never really leaves suburbia. Its spiritual home is in the shopping mall. Like the Cap'n himself, this movie guzzles up its dreams and ignores the busted engine.

Despite its good performances--Minns, Lumbly, Shelby and Best, as well as Plummer--South Central lacks a certain juice, heat and life. It doesn’t boil with the energy you’d expect from a gang picture, and it doesn’t have the density or rich atmosphere of a Boyz N the Hood, Do the Right Thing or New Jack City.

Singles is a bright and beautiful piffle about love American-style, junior division.

Despite the presence of a college-aged siren that Allen’s married, fiftysomething character becomes intoxicated with, this assured, penetrating film is no sentimental homage to May-December infatuations. Rather, Husbands and Wives is a lacerating comedy about love turned sour, a painful, deeply pessimistic yet somehow funny look at how caring relationships wind up as destructive emotional dead-ends.

Ballard has infused Wind with an old-fashioned romantic sentimentality that is affecting from time to time. But this and everything else that is good about the picture fights an ultimately losing battle against an inept story that feels like it was constructed from bits and pieces of other, presumably more involving films. It's a shame that director Ballard, who has gone many years between features, has had to set out this time in such a leaky and unsound vessel.

Those looking for sheer gore for its own sake probably won't be disappointed by Hellraiser III, but those expecting the quality of the first film in the series most likely will be. [14 Sep 1992, p.F8]

This is a film that knows enough not to take itself too seriously, and watching the gang wryly adjusting to each other's quirks and foibles is diverting enough to quash any lingering cavils. [09 Sep 1992, p.F1]

It works best when it’s at its loosest and most improvisatory. Whenever the seams in the script show, the film loses its grit and takes on the aspects of a made-for-TV drama about runaways.

In addition to leaving a question mark around the issue of Delbert's guilt or innocence, Brother's Keeper, which Berlinger co-directed with Bruce Sinofsky, opens up several complex areas of debate. Among them: the differing codes of behavior governing city and country life; the inaccurate, stereotyped beliefs each realm has about the other; community loyalty; incest; the socializing effects of media and the manner in which we acquire language.

Audacious, bracing, uncommonly timely, Bob Roberts would seem almost impossible to pull off. So it is very much to Robbins' credit as a filmmaker that he manages to do so while rarely getting preachy and never neglecting the importance of movement and excitement in keeping an audience involved. [04 Sep 1992, p.F1]

It's the most outwardly sleazy of all Lynch's movies, the rawest and raunchiest, the least circumspect. Full of striptease and scandal, violence, orgy and feverish nightmare, the movie is a kind of mass opening of the sewers that always lay beneath Twin Peaks' placid streets... But it does cap off a pop-cultural landmark, with all the bad taste and high style required. [31 Aug 1992]

Pet Sematary II, which is too gruesome for grammar school youngsters and too easily laughed off for most high schoolers, ought to be a big hit among the junior high crowd. Not nearly as scary as the 1989 original, it nonetheless expresses and attempts to resolve in bold mythological terms the anxieties of being 13.

Though Honeymoon in Vegas has one of his most accessible premises, Andrew Bergman has never been to everyone's taste and probably never will. He is something of a spritzer in the Mel Brooks mode, someone who spews out such a torrent of manic material that by definition not all of it is going to work. But in an age where screen comedy tends to fit snugly in a handful of pre-set synthetic molds, his all-natural craziness comes as a special treat. Especially if you like to laugh. [28 Aug 1992, p.F2]

A film that is genuinely mind-expanding, an exhilarating intellectual gantlet that tells a remarkable human story.

The entire thrust of this provocative, harrowing yet ironically exhilarating film is to make it clear that ultimately, alienated by the AIDS virus rather than by sexual orientation, Jon and Luke have only each other. [21 Aug 1992, p.F10]

Johnny Suede has an astonishingly consistent tone and a remarkably talented and cohesive cast. [21 Aug 1992]

Schroeder is too fine-tuned a director for this roomie-from-hell claptrap, and his attempts to work in references to Polanski's films or to Ingmar Bergman's Persona only reinforce the pulpiness.

Ritter, Dawber and Jones are skilled comedians, and director Peter Hyams typically handles large-scale entertainments with aplomb. But it’s hard to see how anyone could have made anything out of something as flat as Stay Tuned.

Simultaneously heroic and nihilistic, reeking of myth but modern as they come, it is a Western for those who know and chrish the form, a film that resonates with the spirit of films past while staking out a territory quite its own. [7 Aug 1992]

A lively, good-looking kiddie action comedy best left to those under 10. Although their attention may wander, parents can be grateful that there's some substance as well as fun in this Disney release, for martial arts is presented as a matter of defense rather than aggression, emphasizing that it is a matter of mind and spirit as well as body and requiring resourcefulness and discipline.

De Palma clearly did not want to do a conventional thriller, and so his considerable prowess in that area is only occasionally brought to bear. As a result, despite a few finely creepy moments that remind us of his talent, the shocking parts of Raising Cain feel lethargic and lacking in purpose.

Actress Kristy Swanson provides the ideal combination of energy and comic disdain that characterize a most unlikely savior. While it would be a mistake to oversell Buffy the Vampire Slayer, the sad and/or happy truth is that you could do worse on a warm summer night. A lot worse. [31 Jul 1992, p.1]