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]