Exorcist III is as gory, convoluted -- and deafening -- as any Nightmare on Elm Street sequel. [21 Aug 1990, p.C4]

Because of James Belushi, Taking Care of Business is bearable. Even funny. [17 Aug 1990, p.G5]

Lee is better at topical parody than he is at intimate character drama, at least so far. Another is that movies about jazz are never very good, and Spike Lee, talented as he is, couldn't do much to change that. [03 Aug 1990, p. G5]

Young Guns II looks good, and offers -- for those in its audience who, against all odds, might care -- a mildly interesting theory on what really happened to Billy the Kid. And if this is what it takes to keep the Western alive, if not yet prospering, ride on, Guns, ride on. [01 Aug 1990, p.D1]

There are jokes in this story of a 7-year-old adoptee from Heck, but most of them are funny despite the clumsiness of their telling. The rest aren't funny at all. [1 Aug 1990, p.D7]

It's a movie of surpassing flatness, all surface, all monotone. Pace? It's as if the director, Alan J. Pakula, had dialed in half speed on the first day of shooting and never checked the throttle again. [27 July 1990, p.G5]

The Freshman isn't big at all, but it's no bauble, and it's no genre piece. It's quite unhinged, in fact -- the film seems continuously on the verge of spinning off into madness. It never does, which is kind of too bad. But it's never dull, and it's never cute, and it's not at all what Brando thought it was. [27 July 1990, p.G5]

Navy Seals is all action, no talk, and it never slows down enough to let you see how dumb it is. But the sudden lack of enemies in a world gone crazily, treacherously peaceful is a problem for Hollywood. [20 July 1990, p.G5]

In the end, the highly manipulative Arachnophobia succeeds because it plays off our deepest fears and dramatizes that most common of nightmares in which man is pursued by a ravenous, largely unseen evil. [18 July 1990, p.D1]

The result: Rather than being funky, Jetsons: The Movie is plain fluffy. [6 July 1990, p.G5]

Robocop 2 is as funny as it is loud, and nearly as smart as it is gross -- though the latter quality does win out, particularly in the climactic brain-squash sequence. [22 June 1990, p.G5]

Betsy's Wedding is as "high concept" as they come -- it's all in the title, and once you know the cast, you pretty much know where it's going and how it will go. And still, it's cute, in a forlorn, co-opted sort of way. [22 Jun 1990, p.G5]

Dick Tracy is light on its feet where Batman clomped and wheezed, and it's fantastic -- that's the word -- where Batman was merely well designed. [15 Jun 1990, p.G5]

This is a weird piece of work, silly and exhilarating. And yes, the sequel's better. [15 Jun 1990, p.10]

Back to the Future Part III nicely concludes the threesome (calling this a "trilogy" confers just a bit too much honor on an extended, live-action cartoon). Unlike the second, III is quite satisfying -- often funny, and ultimately thrilling. [25 May 1990, p.G5]

Cage plays his part in exactly the mode of the maimed swain of Moonstruck -- his voice is flat, his jaw slack, his eyes glazed over. He knows it's junk, and he just can't help himself. [26 May 1990, p.E1]

Williams is wonderful. But though you can see Williams straining and heaving at the traces, working against the confines of a script he could have rewritten between scenes, he makes a character out of it anyway. [18 May 1990, p.G5]

Badham, a consummate craftsman, certainly knows how to stage his action sequences competently, but they lack spontaneity and thrills. The movie careens from one concocted obstacle to the next and ends with the most ridiculous and overlong sequence of all. [18 May 1990, p.G5]

None of the three is at all frightening, and though the final tale makes use of some nifty makeup effects, they're ones we have seen many times before. [11 May 1990, p.11]

It's still quite sexy, but hardly erotic. The director, Zalman King, not only has seen entirely too many in the goofy Emmanuelle series, he appears not to know just how stupid those movies are and so has made little more than a knock-off of them. [4 May 1990, p.13]

When The Guardian isn't goofy, it's as dull as plywood and just as thin. [01 May 1990, p.C4]

If you do decide to take in Q & A, prepare to leave it with many questions unanswered. [27 Apr 1990, p.G5]

The devices in the script are more obvious than the special effects. [27 Apr 1990, p.G5]

Miami Blues is a neat little trick -- funny, tough, scary. This hurts to say, but it wouldn't be so bad to see a Hoke Moseley sequel. [20 Apr 1990, p.G5]

Crazy People is one of those sky-high-concept titles, you know? A film with that title had better deliver, had better be stone crazy, wacky to the bone, nuts. With a title that blunt, you don't want to wind up with warmed-over farce of the sort that used to cast Dudley Moore opposite a tall, blond beauty....Uh-oh. [11 Apr 1990, p.D1]

What were charming once -- the clumsiness of Uys' style and the crudeness of his effects -- now seem quite tired: After all, he had the budget this time, and he has had six years to learn how to do things. It's as if Uys never quite understood what made The Gods Must Be Crazy so enchanting. [13 Apr 1990, p.G5]

For everyone? Clearly not. Greenaway is an acquired taste. Once acquired, he's a pure original, not to be forgotten. X marks the spot. [6 Apr 1990, p.G5]

The film is never arresting, though it's arrestable -- throw it in the clink and throw away the key. [13 Apr 1990, p.G11]

First-time writer-director Robert Resnikoff's visual style is bland at best, and his script has nothing memorable in it -- except for unbelievable occurrences. [12 Apr 1990, p.F8]

It throbs with innocence; like prom night itself, it's an instant good memory. And like its creator, the always surprising John Waters, it's sideshow weird. They don't make 'em like this anymore. They never did, either. [6 Apr 1990, p.G5]

A Shock to the System has wit, a cool classy charm and a hero you root for even after he rigs his house's faulty wiring so his nagging wife unwittingly electrocutes herself while he's out of town on business. [23 Mar 1990, p.G5]

Given the talent involved -- Bigelow, Curtis, Red -- you figure Blue Steel will break out, show something new. Never happens. It's just a tough little thriller with a long string of plot holes. [16 Mar 1990, p.G5]

Only on that superficial level does this Lord of the Flies fly. [16 Mar 1990, p.G11]

Obviously, House Party isn't on Spike Lee's level -- this is fluffy stuff -- but don't let your mind wander too far off. There are still some good things to be heard. [9 Mar 1990, p.G11]

After it's over, one thing is perfectly clear. Joe Versus the Volcano, for all its wacky gags, delightfully bizarre look and ill-fated attempts at insight, is only one thing: Mediocre. [9 Mar 1990, p.5]

Strip away the off-screen hype, and Bad Influence comes off as a mildly compelling yuppie descent into decadence, a sort of Bright Lights, Big City with teeth. [09 Mar 1990, p.5]

The several ideas whizzing about in this story are frankly fascinating, and though there are times when the film seems sadly out of date, the film has a real pull to it. [16 Mar 1990, p.G5]

The movie is all visuals and atmosphere without an effective structure. It doesn't move you, it's on display. [24 Feb 1990, p.E5]

Glory leaves you with not just the sense of its characters' triumph over injustice, but their destruction by the very system that empowered them to begin with. There's no escaping that story, either -- even if Glory doesn't really tell it. [12 Jan 1990, p.G5]

As expected, Kevin Costner is witty and personable in Revenge. The movie isn't nearly as charming. It overstays its welcome with a story that's not gripping enough to fill half its two-hour running time. [21 Feb 1990, p.D4]

It's supposed to be funny, and first-time writer-director Tom Ropelewski wastes no time in making this known, by banging the audience over the head with gags that range from brainless to crude. [16 Feb 1990, p.G5]

Hard to Kill is all Seagal, and if pure action thrills are your preference, this will do just fine. [13 Feb 1990, p.C7]

Stella is another strong showing for Goodman, one of three great performances in a movie that might jumble its story a bit but mostly does justice to a classic. [2 Feb 1990, p.G5]

It refuses to take itself seriously. And that is its underlying strength. [19 Jan 1990, p.G9]

This thoroughly unoriginal splatter flick is littered with references to Hooper's seminal work and lifts the plot directly from its predecessor. [15 Jan 1990, p.C6]

It's a gritty, realistic police procedural about the Internal Affairs Division of the Los Angeles force (the cops who watch the cops). It's also a taut, eerie thriller in which the conflict and tension are hidden -- but still effective. [13 Jan 1990, p.E1]

This is one mean little movie, fully deserving of some sort of warning badge to keep out the faint of heart and blue of nose. It's not, by any stretch of the imagination, pornography, so disregard the onetime X (the film is being distributed without a rating). But make no mistake: Henry will give you the creeps. [10 August 1990, p.G13]

It's the gentlest of tales in the grittiest of surroundings. Charles Lane's remarkable feature film debut, Sidewalk Stories, merges the sensibilities of Charles Chaplin and Spike Lee, fashioning a moving examination of homelessness from eloquent silence. [29 Dec 1989, p.5G]

Otomo's vision is as dark as his palette is vivid. [15 Nov 1991, p.G17]

The whole thing means to come down to big, round tears and mass sniffles, but though Spielberg invokes as many golden-era cliches as he can recall, he never gets the romance really working. It's tough being compared to Spielberg, and perhaps unfair if you happen to be Spielberg, but this is easily his least substantial film to date. Some tears, yes. No sparks. [22 Dec. 1989, p.G5]

The movie's as dumb as dirt, but in the early going the action is staged well. The best thing about Tango & Cash is the series of gags to which Stallone has allowed himself to be the target. [22 Dec 1989, p.G10]

Roger and Me is a documentary about the effect of auto- plant closings on the Rust Belt city of Flint, Mich., but wait! Don't be scared. This film will not harm you, it will not bore you. In fact, it will leave you charmed and amazed. [13 Jan 1990, p.E1]

Driving Miss Daisy unfolds at a leisurely pace, with great attention to period detail and character-aging makeup effects....It's occasionally quite funny, and relentlessly good-hearted. And never, ever does it whack you over the head with its theme. [12 Jan. 1990, p.G5]

This is one light, intriguing film that seems heaven-sent for the holidays. [15 Dec 1989, p.G5]

Despite some forced lines and an overlong competition sequence, Holland holds The Wizard together well, supplementing the obvious stand-up-and-cheer climax with a moving conclusion. [15 Dec 1989, p.12]

There's an odd meeting of pathos and caper-comedy in Family Business, an uneasy blend of comedy and drama that never does seem to figure out what it's up to. The movie darts in one direction, then another. When it loses its way, it slows to a plod. It's a bust. [15 Dec 1989, p.5G]

A lot of the charge, the pow and zap of Earl's life seems to be missing. The performance has but a single note, and after the novelty of Newman as cracker wears off, there's not much else there. [13 Dec 1989, p.D1]

And once these two curiosities are addressed, with 90 of the film's 99 minutes left to go, the plodding, gimmicky She- Devil becomes sheer hell. It's a comedy sketch inflated into a movie, a clunkily directed idea that follows a predictable path to an unsurprising conclusion. [8 Dec 1989, p.G5]

Only one-third of these gags are funny. [5 Dec 1989, p.C1]

The Little Mermaid is teeming with life, and best of all, it may show the young ones that the oceans are, too. [17 Nov 1989, p.G4]

The direction, by Jim Sheridan, is tough-edged. [27 Oct 1989, p.G7]

The director spends nearly two hours groping for a message, but never finds it, mostly because his conflicts rise and fall in 30-minute segments -- like a Family Ties episode. [27 Oct 1989, p.G5]

The Bear is a big, polished children's film, nothing more. [27 Oct 1989, p.G5]

Much of it makes no sense whatever, and the most interesting element is watching Neeson and Adam Baldwin, who plays a psychopathic Mafia underboss, steal the picture from under Swayze's nose. [7 Nov 1989, p.C8]

It's a handsome period piece and a decent character drama, and it has that Newman performance. But it never has enough bang for the buck, and that's too bad. [20 Oct 1989, p.G11]

Swiss director and co-writer Dominique Othenin-Girard constructs his film like a carnival spook house -- something or someone shocks you every three minutes. They are familiar gimmicks, but the director adds suspenseful twists that are fun, too. [17 Oct 1989, p.C1]

When Pfeiffer is good, she's great. And when she plays bad, she's even better. [13 Oct 1989, p.G4]

An Innocent Man might have been a decent enough study of justice gone horribly awry -- if the screenplay weren't so crudely manipulative, if the bad cops weren't such cardboard villains and if the title character had been played by a more appropriate (and better) actor than Tom Selleck. [06 Oct 1989, p.G4]

The film does slow down at times and presents only tantalizing hints of Monk, the colorful character. Yet it's a must-see introduction for anyone who can handle their jazz without sugarcoating. [16 Mar 1990, p.G16]

This is a B-movie through and through, and no less fun for that. [29 Sep 1989, p.G12]

At a little over two hours, Black Rain is a good half-hour too long, and the style gymnastics are eventually wearying. But Scott's work is always fascinating to watch, even as it grinds you down. And Douglas now has something heroic about him that enhances, if it doesn't quite transcend, the plot-by- numbers. It's fun watching the two of them volley. [22 Sep 1989, p.G5]

A Dry White Season hits with the force of its convictions, and it hits hard. But it could have been more. [06 Oct 1989, p.G5]

Pacino is the only real attraction. His character feels ancient, used-up, bone-tired -- vulnerable, maybe, but numb. We need to see this in his face, and Pacino can use his the way Triple-A uses maps. That face is still one of the great instruments of modern movies. [15 Sep 1989, p.G5]

If you're a movie buff, The Big Picture will be hilarious. If you're not, it should be revealing. [01 Dec 1989, p.G8]

What's missing in Kickboxer is a solid script and keen direction of dramatic sequences... Van Damme choreographed and edited all the fight scenes, and his talent is undeniable. If you're thrilled by a flurry of spinning back kicks, elbow punches and assorted high-flying martial-arts tricks, Kickboxer has your name on it. [12 Sep 1989, p.C7]

The movie has its own sweet charm, a charm as winning as Shirley herself. [15 Sept 1989, p.G5]

Hackman, with the force of his inelegant personality and his gift for dramatic understatement, makes it go. He has saved a lot of movies, and this is one. [25 Aug 1989, p.G5]

The movie continually threatens to become shlock, but the story and serviceable performances hold it together. Still, the three big-name actors don't realize Millennium is a cut above the usual sci-fi flick, and never surprise us with their performances. [29 Aug 1989, p.C5]

De Palma does some borrowing, too. He always does. Pick your Vietnam War favorite -- Platoon, Apocalypse Now, et al. -- and you'll find an "homage" in Casualties of War. But you won't find the scale or depth that either the war or the genre deserve. It's a big disappointment. [18 Aug 1989, p.G5]

Half-way through Uncle Buck, however, the plot abandons reality and is content to settle into the realm of cheap yuks. The film suffers accordingly and becomes so much like the unnatural potato chips and pretzel food snacks that our hero is fond of noshing. Uncle Buck tastes great, yes. But it sure doesn't fill you up. [16 Aug 1989, p.D6]

The principal appeal remains the series' principal weakness as well. These films are all about the blurring of the boundary between dream and reality, which strikes at the heart of what film is all about. But this also means that at regular intervals, someone wakes up to find that it was all a dream, one of the hoariest and least satisfying devices in the history of bad drama. [15 Aug 1989, p.C5]

Man bites dog in Turner & Hooch, the new Tom Hanks vehicle, and it's a tender moment. But there's precious little else going on in this tired little action comedy, which is so bereft of ideas that it winds up borrowing from Lady and the Tramp, among other familiar sources. [28 July 1989, p.G5]

Putting this hackneyed villain in The Big Apple is a tantalizing concept, but Hedden rarely takes advantage of it. He deserves credit for a few shocks and some laughs from a gloom- and-doom deck swabber, but this is highly derivative stuff. And like many slash directors, he replaces suspense with short chases and violence. If audience response is a meter, Jason VIII is a dud. Save a few shrieks, the crowd fell victim to boredom. [31 July 1989, p.C5]

Isao Takahata, Studio Ghibli's second best-known filmmaker and co-founder, adapts Akiyuki Nosaka's short story of the same name to great effect, using animation to create a film that emphasizes the horrors of war better than most live-action films. [21 Jun 2016]

If Shag had been a music marketing ploy like Dirty Dancing or Salsa, the shagging would have come every 10 minutes. Here the dance accompanies something better: a pleasant story about appealing characters. [21 July 1989, p.5]

Mildly entertaining but not terribly exciting. Agent 007 seems to have fallen victim to the foulest villainy he has yet encountered: mismanagement behind the camera. The movie cost $34 million, but you don't see it on the screen. [14 July 1989, p.4]

Audiences with an insatiable appetite for car chases, explosions, menacing helicopters and relentless mayhem should have a good time. For the more demanding, Lethal Weapon 2 is closer to Excedrin Headache No. 2. [07 July 1989, p.G5]

There are more fight scenes in this movie than the first two installments, but the plot is silly and the come-from-behind climax isn't believable. The movie's only asset is Griffith's hammy performance. [30 June 1989, p.H12]

Great Balls of Fire makes the most of this abundant raw material by keeping its focus tight (barely two years in a career that has spanned 30), its characters outrageous and the conflict between Lewis and his self-righteous cousin Jimmy Swaggart unresolved. [30 June 1989, p.H5]

The movie is sweet and reflects Disney's usual care, but there's nothing in it to match that title. [23 June 1989, p.H11]

The most memorable aspect of Batman is the film's attention to florid detail. At times, Burton's strange touches upstage the simple good-vs.-evil parable. [23 June 1989, p.H4]

While intimate scenes of male bonding among Kirk, Spock and "Bones" McCoy are particularly delightful, the film's overall themes -- God, creation, friendships as family -- are never tied together or amply explained. Star Trek V is a lot like a dinner party where the appetizers are delicious, the main course stale and cold. [9 June 1989, p.5]

Senseless. [15 Sept 1989, p.33]

The film is cold, and despite the principals' considerable thrashings, utterly uninvolving. The overarching theme, gunplay notwithstanding, is tedium. [02 Jun 1989, p.5]

Has he forgotten how to act? He can't deliver lines, he has no comic timing, he moves like a crippled buffalo -- Eastwood is so awful in this unfunny action comedy that those obnoxious movies with Clyde the orangutan now seem like Shakespeare. [29 May 1989, p.C1]

Road House makes Cocktail look like a documentary. [19 May 1989, p.6]

The film sequences of Earth from orbit, of the moon from the lunar lander, then of Earth again are breathtaking. They're disquieting, too -- the feeling of remoteness seems to boil up from the moon's surface as the explorers hop and stumble about in the lunar dust. You get that sense, during these best moments in the film, of the remarkable achievement it was. The thrill is back, in other words. [1 June 1990, p.G9]

Pryor is so lacking in energy that Wilder steals most of the movie from him. For the first time in his career, Wilder actually seems robust, but it's only because he's performing opposite a ghost. It's quite sad. [12 May 1989, p.DW5]