No one can know what Jim Henson would have thought of The Muppet Christmas Carol, but I suspect he would have admired the way it fuses Dickens' spirit with his and usually comes up with something fresh and subtly different from either. Taking Scrooge's advice, Brian Henson and his crew keep Christmas in their own way - which, I suppose, is the only way to keep it. [11 Dec 1992, p.C-19]

Watching The Bodyguard is like trying to have a telephone conversation when you have a bad connection. The guy on the other end keeps saying things that sound maddeningly incomplete....After a while, you want to hang up.

For the first time on the big screen, Williams' whirligig wit is totally unencumbered - and it isn't just free, it's supercharged by animation.

Even by kid standards, young Macaulay can't act. The boy just races through his dialogue, barely pausing long enough to be understood. And when the script requires him to actually show some emotion, he sounds completely mechanical - as if he were merely parroting a line reading that some adult had given him. [20 Nov 1992, p.16]

Passenger 57 was directed by Kevin Hooks, a former actor who directed last year's Strictly Business. He manages to keep the action fairly clear, which is something that can't be taken for granted in today's adventure movies. [09 Nov 1992, p.C1]

Malkovich temporarily brings the movie to life, but, finally, it's too little, too late. Amusing though it is, his brief performance probably won't be enough to keep "Jennifer Eight Is Enough" off the ballot. [6 Nov 1992, p.23]

Aside from Robert De Niro and his totally inappropriate performance, the cast is a mixed bag.

What's unusual about Consenting Adults (which opens today) is that virtually everything is implausible. In fact, my bull detector hasn't beeped so much since the last time I went shopping for a new car. If I were to list everything that happens in the film that strains credulity, I'd be here until Woody and Mia get back together. Plus I'd make some of you angry by revealing too many secrets. [16 Oct 1992, p.19]

Director Andrew Davis (Seagal's Above the Law) and screenwriter J.F. Lawton (Pretty Woman) handle the early scenes fairly well. As the villains are putting their plan into place, the plot is involving and the pacing brisk. It's only after the bad guys take over the ship that the film begins to degenerate. The staging falls apart almost immediately, and, before long, it's not clear exactly what is happening and where. [06 Nov 1992, p.24]

If there is any reason at all to create a big-budget, 2 1/2-hour film epic about Columbus, it is to bring the explorer and the people around him into focus as human beings. But that's just what director Ridley Scott fails to do. [09 Oct 1992, p.17]

Romper Stomper offers an intriguing twist on most chase movies: In this one, you don't want the people who are being pursued to get away. [01 Oct 1993, p.20]

Like many other Disney-produced movies, this one requires you to give yourself up to the fantastic elements of the story in order to enjoy it fully. If you dwell on the improbabilities, you'll miss the good parts. [09 Oct 1992, p.22]

They all help Malkovich to do his thing, and a remarkable thing it is. That terrific performance of his just might be a selling point, after all. [16 Oct 1992, p.17]

In Hero, Frears and Peoples send up the press and the public, but they stop short of debunking the notion of heroism itself. [02 Oct 1992, p.17]

A powerful film - the best and fullest expression of Mamet's brilliantly brutal sensibility to reach the movie screen. [02 Oct 1992, p.19]

The Last of the Mohicans isn't a classic, but it's one of the most exciting action pictures to come along in recent memory.

Singles - a seriocomedy about the twentysomething singles scene in Seattle - doesn't do a whole lot to locate this lost generation on the socio-cultural map. But it's fairly enjoyable most of the time, anyway. [21 Sept 1992, p.D2]

What I like best about Husbands and Wives is that for the first time in a long time, Allen seems to be experimenting.

Well, it's not Hellraiser 2, but it's pretty decent. [27 Nov 1992, p.23]

No, this offbeat story probably wouldn't make it on Matlock. But it does make for a gripping documentary about a particular way of life - and of death. [05 Jun 1993, p.E3]

Like a political cartoon, Bob Roberts can sometimes be so overtly political that the humor starts to fade. Toward the end, especially, the movie loses some of its force by forcing the issue too far. But Robbins shows so much energy, intelligence and audacity in his directorial debut that it isn't hard to forgive his excesses. [25 Sep 1992, p.18]

This may be the most truly disturbing movie to come along since Lynch's Blue Velvet of 1986...But for those who are willing to go the distance with Lynch, the return trip to Twin Peaks is well worth the trouble. [31 Aug 1992]

These Elvis clones are just one aspect of the zany atmosphere in this sometimes-entertaining comic romp.

The film doesn't go deeply enough into Hawking's theories to really explain them, and it doesn't go deeply enough into Hawking's life to impart anything but a sketchy understanding of the man. Still, considering the almost impenetrable subject matter, it's remarkable that Morris has gotten as far as he has.

Although the second half of the picture (which could have been called Single White Females Can't Live Together) is mostly a waste, the early scenes are tantalizing enough to be worth a look. [14 Aug 1992, p.17]

Not only does the new film generally fail to skewer TV's follies, it isn't even as entertaining as television. And I'm not talking about really good television, like Seinfeld and Murphy Brown. I'm talking about the usual stuff, like Three's Company and Mork & Mindy. [17 Aug 1992, p.D2]

Half of me thinks that Raising Cain is disappointing. The other half thinks it's just stupid. [07 Aug 1992, p.19]

If you tried to remake a cheapie zombie flick with a big budget and an eye on the mass audience, you'd end up with something like Death Becomes Her. This new horror-comedy has to be one of the most heartless mainstream pictures ever made. [31 July 1992, p.17]