The preposterous plot is riddled with holes, and Patton, as the psychotic homosexual aide, badly overplays his hand. Nonetheless, Australian-born director Roger Donaldson does a bangup job tightening the suspense screws inside the Pentagon. Costner, much more vibrant than he was allowed to be in "The Untouchables," brings great dash and conviction to material that probably doesn't deserve it, and Hackman finds pockets of humanity in his badguy role. The result is taut, stylish and, for those willing to suspend about three tons of disbelief, a good deal of fun. [24 Aug 1987, p.60]

Goes on too long, and much of it is hooey, but it’s hard not to have a good time.

When the dust settles, you may well suspect you've been taken for a sentimental ride, which is not what one normally expects from director John Huston. What he does bring to Evan Jones and Yabo Yablonsky's proficient script is his confident, unhurried pacing and his ease in mixing the professional actors and professional soccer players into a seamless ensemble. [10 Aug 1981, p.69]

Defies any expectations you bring to it. There are sights in Michael Tucker and Petra Epperlein's eye-opening documentary that will confirm and confound both right and left.

Refreshingly, the movie doesn't treat you like a moron who needs to be told which woman to root for. If Ben has to choose, why shouldn't you?

Silver gets rich Delancey detail and savory acting from a charming cast, especially Irving and Riegert, whose subtle, funny-sad performance is a small miracle of cliche-avoidance. But finally "Crossing Delancey" confuses charm with the cutes. [05 Sep 1988, p.61A]

Director Stuart Rosenberg and screenwriter W. D. Richter have a strong, grim, angry story to tell, and the urgency of their convictions overcomes the frequent clumsiness and confusion of the telling. Unsparing in its evocation of brutality, and unswerving in its commitment to Brubaker's radical, uncompromising ideals, the film at its best provokes a powerful sense of tension and outrage. [23 June 1980, p.75]

Of course, hanging over this ironic tale is the deeper historical irony--that many of the "good guy" rebels Charlie is funding (and we're cheering) will become our mortal enemies...It's as if "Titanic" ended with a celebratory shipboard banquet, followed by a postscript: by the way, it sank.

For a number of reasons The Duchess isn't all it could have been. It's fun, but falls short of fabulous.

If The Pope doesn't fly Sinatra-high or dig Scorsese-deep, it is an appealing commercial movie with a gritty sense of the city, an effective narrative drive and a very watchable cast of pungent performers. [25 June 1984, p.68]

The plot is madcap nonsense, and the comic aim is sometimes very broad and very low, but the belly-laugh quotient in Arthur (The In-Laws) Hiller's movie is the highest since the last Midler movie, Ruthless People. [26 Jan 1987, p.76]

A brainy three-ring circus.

Holofcener has a wonderful breezy touch. She hides life issues in such sweet moments, you barely notice them as they go down.

The name's Dalton, Timothy Dalton, and in the film The Living Daylights he abandons the winks, the arched eyebrow and laid-back smile to get down to the dirty business of espionage. [27 July 1987, p.56]

I'll take the Disney any day, in spite of the fact that the characters are cardboard, that the dialogue belongs in a deflated cartoon balloon, that the ending is hopelessly murky and that the acting -- by Schell, Anthony Perkins, Yvette Mimieux and especially Ernest Borgnine, Robert Forster and Joseph Bottoms -- is abysmal. The magic of Peter Ellenshaw's production designs disarms the critical mind: the child in me had a dandy time. [24 Dec 1979, p.79]

The Turning Point has its flaws - some overwritten scenes and lapses into staginess and sentimentality - but they are those of heady excess and are easily forgiven. One has the sense of a project perfectly matched to the people who made it. [28 Nov 1977, p.97]

Fortunately, whenever the movie starts to sag, Depp flies to the rescue. It’s a truly piratical performance: with his flamboyantly fluttering fingers he steals every scene in the movie.

Expect to be confused for 10 minutes. Then sit back and enjoy the ride.

A fairy tale reminding us that childhood fears are deep and tangled as tree roots.

With an arsenal of cool f/x at their disposal, the Wachowskis have come up with a dizzyingly enjoyable junk movie that has just enough on its mind to keep the pleasure from being a guilty one.

Edwards has given Dudley Moore his best vehicle since Arthur. [31 Dec 1984, p.67]

Nickelodeon is Bogdanovich's sweet funny homage to the days before World War I when America played with its new toy, the movies, in those converted storefronts or jerry-built pantheons where for a nickel you could enter the new magic darkness of electric centuryIn that flickering, faintly salacious darkness, a new innocence was born. [27 Dec 1976, p.56]

In Wildcats, Hawn remains a pre-eminently delicious comedienne, even if the notion of a "Goldie Hawn movie" is becoming perilously predictable. [17 Feb 1986, p.68]

Directed, with neither prurience nor sentimentality, by Alan Clarke, the film is a celebration of the survival instincts of two game, practical girls, but a bleak wind blows just below the surface. [03 Aug 1987, p.67]

We're here for catty one-liners, movie-star camaraderie and fur-flying vengeance, and, in spite of a regrettable wimpiness that creeps in toward the end, that's what we get.

A reasonably engaging kids' flick that is given humor and heartbreak by director Michael Dinner and a cast of splendidly scruffy young players. [11 Feb 1985, p.73]

Copycat is satisfyingly tense, but the disgusto factor is balanced by its obvious theatricality--neatly captured in the contrasting performaces of Weaver and Hunter, the one playing neurotic standard poodle to the other's tightly wound terrier. [6 Nov 1995, pg.86]

Jumpy and ironic, Downey is a quicksilver delight and Kilmer is funny as the gay Perry. But Black’s inventive, self-conscious script--heavy on voice-over narration--can be too clever for its own good. The movie is baroque fun, but exhausting.