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

Before it's done, Hello Mary Lou has touched most of the bases, flirting with taboos (incest, locker-room lesbianism, fingernails on the blackboard) and purloining effects from the Nightmare on Elm Street series. It's a badly made film, as awkward as can be, and long stretches of it make no sense whatsoever. Nor does it manage, as the better slasher films do, to re-create a high-school milieu of even passing authenticity. [21 Oct 1987, p.D5]

Something of an overlong, overblown, disorganized mess, despite being slightly better than its predecessor.

Barkin's performance is deranged and wonderful. You won't see anything else like it at the movies for a long, long time -- at least until Edwards returns to the gender-swapping theme. When he does, perhaps he'll make it funnier. [10 May 1991, p.G5]

There's plenty in Tokyo Decadence to titillate, and plenty to shock, too, and that should be enough to motivate some people into seeing it. The movie is never pornographic, though those who don't get out much are bound to be offended. There are also some interesting observations on Japanese culture put forth by Ai's various clients, though she remains an uninteresting cipher. Despite Murakami's best efforts, the things you'll remember most about Tokyo Decadence are the naughty bits. [23 Aug 1993, p.C5]

The movie is 75 minutes of easy entertainment, important mainly as the launching pad for Downey, whose glibness, good looks and quickness of spirit mark him as a man who may pick up as many accolades as ladies in a promising future career. [19 Sept 1987, p.B5]

Though this film can be clumsy, its ambitions are equally -- and admirably -- uncommercial.

Sobieski manages to make Jennifer's inevitable transformation more than a little bittersweet. Apparently even clichés click sometimes.

Great messages, of course. But Glee: 3D is not good enough, it's not smart enough, and doggone it, well, you get the gist.

The message in Spanglish is thoughtful and astute; it's the delivery that could use some work.

Isn't much more than the tale of a ''bad'' guy getting in touch with his good side, as well as a love story that makes monster-loving little boys go ''yuck!'' And that's what's too bad about Sinbad.

You can tell they're desperate when they unashamedly resort to showcasing cutesy sea-creature behavior. Sandler is a funny guy. Let him work for his own laughs. He doesn't need a puking walrus to prop him up.

Despite its flaws, The Gatekeeper will keep you engaged.

What you don’t expect is camp. The Counselor is more "Wild Things" than "No Country for Old Men", with which it shares a border town setting. But at least "Wild Things" knew what it was. The Counselor treats its material seriously and seems to have no idea it’s a joke that can’t even muster up a bit of smarty-pants Tarantino cleverness or energy.

There are not as many jokes as a 95-minute movie needs, however, and most of the good one-liners are doled out to the supporting players rather than to Dangerfield, who goes ahead and rolls his eyes anyway. He's a good sport about it, but his fans are going to wish instead for one of those "concert" movies, such as the ones that showcase Richard Pryor. And those without an abiding affection for Dangerfield are going to wonder what the rest of us have been laughing about. [23 Aug 1983, p.C5]

Doctor Detroit is Dan Aykroyd's first big solo vehicle, and it has some traditional Motown problems: It sputters and wheezes and lurches, never does run smoothly, never does satisfy. In the spirit of products from another troubled industry, this is a raucous comedy that just doesn't have very many jokes. [10 May 1983, p.B5]

While the gore has made the jump safely, the wit seems to have disappeared. [13 Jan 1995, p.6G]

Does serve up an inspired gag every once in a while.

Action and comedy are more impressive here than in the first film.

The movie, touted as a modern Little Women, shows none of the feminist spirit or evergreen qualities of that film. Even in those cumbersome bonnets, the March clan seemed much more hip and self-assured. In comparison, The Baby-sitters Club feels like fodder for a new generation of Stepford wives. [18 Aug 1995, p.7G]

The plot is rather basic when you remove the clutter. Boy gets busted, needs girl to save his soul. It's all stiff and forced. So are the performances. [10 Oct 1987, p.B6]

Kids will love it. It feels fresh and original and mildly subversive, but it's all a cover for the filmmakers not having the patience or confidence to put together a real story with a beginning, middle and end.

Except for Spacey's talent, elements don't add up.

This sequel, while lacking the freshness of the original, shares much of its charm and for the most part rises above some trite, syrupy dialogue.

Even if the whole of Orange County is less than the sum of its parts, Jack Black is not the only thing to like about this movie.

Paced at the speed at which Arctic ice melts, The Dust Factory is a sluggish, heavy-handed fable overloaded with talk of paradise and the man in the moon.

Pearce gets into his groove swiftly, owns it and remains entertaining throughout. The rest of the movie, however, would work better as a video game.

The special effects used to illustrate these drawbacks are remarkable, but the movie around them isn't. There's precious little chemistry between Chase and Hannah, there's not much real menace in the over-the-top performance by Sam Neill as a CIA assassin, and there's nothing but a skin-deep gloss to Carpenter's direction. [03 March 1992, p.E4]