Demme is understandably reluctant to linger on the horrors of slavery, but it's a dramaturgical mistake. The quick, shocking flashbacks of Sethe's brutalization by her white masters don't do the job--they're horrific, but with a B movie luridness.

Quantum of Solace isn't frivolous or cheesy, but it isn't all that much fun either.

But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.

Forman's decision to stick to the surface is probably, in the end, a wise one. Kaufman always wanted to keep us guessing, and this movie respects his wishes.

This is a smart and funny movie much of the time, but it's not that smart and funny, and it doesn't seem like old times. [05 Jan 1981, p.54]

When it catches fire, this great-looking movie offers hilarious diversions.

The Escape Artist is chockablock with intriguing ingredients, none of which pays off. It's a true oddball, but as much as one would like to encourage iconoclasm in Hollywood, a movie this incoherent can only induce exasperation. [14 Jun 1982, p.88]

Hasn't the South as a cornucopia of Lovable Eccentrics worn out its welcome? After Tennessee Williams? After Carson McCullers? After -- what, you say your appetite for L.E.'s is insatiable? Then Miss Firecracker, which Beth Henley has adapted from her 1984 play, is your heaping platter of that delicacy. [01 May 1989, p.75]

A thriller set on an Indian reservation in the 1970s, Thunderheart has both passion and power, enough to compensate for its sometimes murky plotting and a fair dose of melodramatic hokum.

The presence of Connery is pure balm, purring those Celtic tones like smoky single-malt Scotch.

Careening wildly between fairy tale and drama it doesn't know when to call it quits.

A pure, rousingly entertaining action movie which makes it clear that "binary oppositions" are good guys vs. bad guys and "ideological meanings" are us vs. them[17 July 1989, p.52]

A high-gloss, light-fingered flick that deftly picks your pocket of a few bucks and in return slips you two hours of neatly killed time. [30 June 1980, p.62]

Sleek, moody, violent and romantic, Sharky's Machine is not only the most seductive Burt Reynolds movie in many a moon. Reynolds is turning into a stylish director, and he sets a distinctive tone of languid menace. Though he can be graphically brutal, Reynolds isn't after realism, but a kind of gauzy, slightly baroque romanticism. [28 Dec 1981, p.64]

For about 15 gonzo minutes Dante supplies the most audaciously uproarious satire of the season. If only Eric Luke's script had prepared us more adroitly for this turnabout. The early stuff is aimed at the kids, the payoff can be properly savored only by adults, the finale is limp. But the blast of silliness is inspired. [29 July 1985, p.58]

A surprisingly earnest and cautionary movie, careful to attract female viewers and not freak parents out too badly.

Stands as a wonderful ensemble piece not unlike Woody Allen's dramas "Interiors" and "September."

Busier, messier and thinner than its predecessor...the studied hipness can get so pleased with itself it borders on the smug.

Downright repetitive! [30 May 1983]

Not a fiasco, a disaster or a scandal. But not as funny as it should have been, and not the trenchant office satire one was led to expect. As a comedy built on the juicy soil of revenge, "9 to 5" falls between two poles. It's not wild or dark enough to qualify as a truly disturbing farce and it's too fanciful and silly to succeed as realistic satire. Politically and esthetically, it's harmless--a mildly amusing romp that tends to get swallowed up by its own overly intricate plot. [22 Dec 1980, p.72]

Like the original, Flash Gordon has nothing on its mind but moving its jet-propelled plot from one fairy-tale setting to the next. It's nice to see a movie accomplish exactly what it sets out to do, with wit and spirit to boot. [08 Dec 1980, p.105]

An engaging and touching flight of fancy. [17 July 1995, p.60]

"The Search for Spock" is everything it ought to be: solemn and shlocky and rousing and heartfelt, like all good reunions. For those whose cup of tea this is, drink deep and enjoy. [11 June 1984, p.80]

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]

Movies that make mental illness cute and poetic tend to give me the heebie-jeebies, and this one doesn't help its case by being evasively vague about the nature of Joon's condition. That said, it should be granted that Benny & Joon is one of the more palatable and inventive examples of this suspect genre, its inherent sappiness leavened by screenwriter Barry Berman's wit and director Jeremiah Chechik's clever use of familiar silent-comedy routines. [26 Apr 1993, p.64]

Spielberg has gone to such lengths to avoid boredom that he has leaped squarely into the opposite trap: this movie has such unrelenting action that it jackhammers you into a punch-drunk stupor. This may be the first movie whose audience O.D.'s on action. [4 June 1984, p.78]

This visually stunning movie serves up generous dollops of designer creepiness.

There's a big difference between shock effects and suspense, and in sacrificing everything at the altar of gore, Carpenter sabotages the drama. The Thing is so single-mindedly determined to keep you awake that it almost puts you to sleep. [28 June 1982, p.73B]