I admit, I jumped a couple of times in the beginning, but as the movie progressed, it lost its horror and picked up its stupidity. [20 Aug 1993, p.21]

The movie's dark themes, unhurried pace and talkiness make it something of a gamble for many children. But older children - especially those who have been asking specific questions about death - may find some nourishment in this garden.

In praising Heart and Souls, I hope I haven't oversold the film. Really, it's kind of thrown together, but it's thrown together in a fun, unpretentious way that makes it an often delightful distraction for a rainy August afternoon. And it'll probably look even better when it shows up on TV. [13 Aug 1993, p.17]

Zaillian's usual weakness - a tendency to simplify and sentimentalize - asserts itself from time to time here. But much of the movie has a dry, almost documentary-like tone that helps to keep the material in perspective, as does the filmmaker's loving attention to detail. [13 Aug 1993, p.20]

Most big-screen adaptations of small-screen fare seek to discover some deeper - or, at least, more complex - implications of the material. But in this new Fugitive, the filmmakers have taken just the opposite approach.

What it all comes down to is that Kaufman gets the hard things right and messes up the simple stuff. If there isn't a Japanese saying for that, there certainly ought to be.

Not everyone has realized this yet, but with Wayne's World and So I Married an Axe Murderer, Mike Myers has somehow become the first major movie star of the '90s. [30 July 1993]

Many years ago, Mel Brooks made up his mind about what was funny and he hasn't budged since. [30 July 1993, p.21]

As in the sketches, the Coneheads are humorously outrageous, but somehow they don't seem quite as humorously outrageous as they did 20 years ago. [23 July 1993, p.6]

Bottom line: Stake out another movie. [23 July 1993, p.8]

All things considered, Hocus Pocus is much more entertaining than a pimple-people picture has a right to be. In addition to the delightful witches and the delightful Thora Birch, the film's bag of tricks and treats also includes a cat that - thanks to the magic of computer graphics - really seems to talk. [16 July 1993]

Let's just say that compared to Son-in-Law, Green Acres is Noel Coward.

This delicious, mystical Mexican drama keeps you in an almost constant state of stimulation. [11 June 1993, p.28]

Director Richard Benjamin and screenwriter Holly Goldberg Sloan use a single comic device throughout the entire movie. In scene after scene, two things are made to happen simultaneously with supposedly hilarious results. [11 Jun 1993, p.22]

And for a while, anyway, the filmmakers capitalize on this irresistible premise, winning our complicity in their thriller's voyeuristic game with slick visuals and a delicious mood of anticipation. [22 May 1993, p.E1]

This lovely, tentative motion picture tells a captivating tale. [14 May 1993, p.19]

The comedy - it's too cautious, really, to be called a satire - just sort of tap-dances along, hitting all the usual marks without ever straining too hard.

The way the story is structured, Johnny Depp's performance should have been the movie's centerpiece. But though Depp has a moonbeam quality that's right for Sam, he's not really enough of a clown to make his slapstick scenes come alive. [20 Apr 1993, p.E1]

The basic problem with Indian Summer: The movie sacrifices credibility in an attempt to get easy laughs. [23 Apr 1993]

Basically, it's like a standard TV cop show with better-than-average acting and a few brief scenes of violence that would be too extreme to pass network standards...The word that comes to mind is generic.

What's missing in Point of No Return is basically the same thing that was missing in La Femme Nikita - cleverness. Both are stylish action pictures that would seem a lot more stylish with a few ingenious plot twists. [23 March 1993, p.E1]

What's especially encouraging about Just Another Girl is that in it Leslie Harris demonstrates a genuine knack for capturing on film the sounds and rhythms of adolescence. [10 Apr 1993, p.E1]

You would call Amos & Andrew a comedy of errors if it were actually funny. I suppose the precise term is an attempted comedy of errors - or maybe just a turkey. [05 Mar 1993, p.19]

If anything saves Untamed Heart from itself, it's Tomei's performance which, if nothing else, proves that her terrific turn in My Cousin Vinny was no fluke. She's a star on the rise, and even in a formula flick that is something to see. [12 Feb 1993, p.20]

The love scenes turn out to be the most appealing sequences in this otherwise uninspired movie. [05 Feb 1993, p.17]

Malle and Hare have created a devastatingly understated film about the ravages of passion.

The movie doesn't paint a pretty picture, but it paints one that you sense is emotionally true. In the end, the Odones are heroes, not statues of heroes. You may not always like these people, but how can you help but admire them? [22 Jan 1993, p.E1]