Often the picture drags, getting caught in its own goodness and going for a generalized sense of wonder, till you kind of wish you could apply the spurs. [17 Sep 1993, p.C3]

Its whodunit plot is easily figured out, and its story is a mess. Most surprisingly, its star, Bruce Willis, manages to pull off an entirely uncharismatic performance...Striking Distance passes through boring on its way from indifferent to laughable, with the last 20 minutes the most ridiculous. [17 Sept 1993, p.C1]

The movie isn't up to much either, but it has a certain eccentric energy, nicely stitched to rock-and-roll songs and a music track by ex-Police drummer Stewart Copeland. And it draws you in for an agreeably empty-headed ride and thrilling skating scenes. [18 Sept 1993, p.F1]

Anybody who talks about True Romance has to start with the writing. It's dazzling. In scene after scene, Tarantino surprises the audience even while coming up with dialogue that rings much more true than anything you could have anticipated. [10 Sept 1993]

Take everything extraneous out of Undercover Blues and you're left with about 15 minutes of physical gags and banter, more than enough to make an amusing coming-attractions trailer but about 70 minutes short of a decent movie. [11 Sept 1993, p.F5]

A beautiful work that could easily have turned into a four-hour-long affair but, at just a tad over two, is enticingly rich and shines with humanity. [8 Sept 1993, p.D1]

Just awful. But uniquely awful -- awful in a way that might just attract a cult audience. [3 Sept 1993]

Ultimately, Fortress is a formula picture, an action film that has to resolve itself in a conventional way. Still, until its last five minutes or so, when it takes a slightly silly turn, Fortress is nicely realized and holds your attention. [4 Sept 1993, p.E1]

In every small way Heston succeeds, but Needful Things ultimately is hard to sit through. It should have been edited with a meat ax. [27 Aug 1993, p.C4]

By and large a misguided and lame affair. Except for gratuitous gunplay so extreme it actually jolts you awake, it's a major snore. [28 Aug 1993, p.F1]

For all the deadpan laughs it delivers, Careful is too self-conscious, too stoned on its own invention and technique to merit sustained attention. It's a marvelous conceit, but ultimately a thin one. [08 Oct 1993, p.C3]

The Thing Called Love should have been a nice, middle-key romance, with a few gentle digs at Nashville's fevered, wildly competitive country-music scene. Instead, it's a hapless, well-intentioned mess -- running in half a dozen directions at once, looking half-planned and semi-improvised, and featuring a skittish, overly mannered performance by Phoenix. [16 March 1994, p.E1]

The Man Without a Face saves itself from sugary sweetness by presenting the friendship of McLeod and Chuck against a harsh small-town background. The screenplay takes off in some strong directions, while Gibson, in his first film as a director, keeps it honest all the way. [25 Aug 1993, p.E1]

With Woo, violence is not just a means to an end. It's something pretty; it's fascinating. His talent is an original and peculiar one. Woo brings an esthetic sensibility to bear on the phenomenon of a good guy beating people up -- and to the spectacle of a violent shoot-out. Explosions aren't just impressive but beautiful. [20 Aug 1993, p.C1]

Manhattan Murder Mystery is splendid good fun, and especially gratifying for those of us who've missed the harmonious Allen-Keaton combo. [20 Aug 1993, p.C1]

After a promising opening, with Jason on a rampage and a cold, peculiar bounty hunter (Steven Williams) on Jason's trail, Jason Goes to Hell switches focus midway to the young couple, and from there things go downhill. Still, the film has its moments. [14 Aug 1993, p.F1]

The Secret Garden unfolds like a richly illustrated storybook. It's an enchanting film, full of visual surprises and a story so simple and wise that it makes most ''children's'' entertainment seem gaudy and facile and overly explicit. [13 Aug 1993, p.C1]

An unabashed soft- core sex marathon, much of it played for laughs, Sex and Zen could catch on as a voyeur's delight -- an Asian spin on the jiggle- and-hump comedies of sex-satirist Russ Meyer (''Beyond the Valley of the Dolls'').

Heart and Souls stands up beautifully as a heart- tugging testament to the importance of taking care of the sometimes complicated business of being a decent, loving person before some fateful bus crash robs you of the chance. [13 Aug 1993, p.C1]

Child actors usually seem either vacuous or snotty, but 8-year-old Max Pomeranc qualifies as a find. As Josh he comes across as a genuinely nice kid, and his intelligent, watchful eyes make him a believable chess talent. In fact, Pomer anc is a highly-ranked chess player who has competed in the national finals. [11 Aug 1993, p.E1]

The Fugitive is the best movie of the summer and one of the best of the year. It's an action film that delivers everything a modern audience expects, and it's also a serious drama with strong characters and intense performances. [6 Aug 1993, p.C1]

It's a wise, sweet-natured film, and one that manages to have fun with its charac ters without judgment or condescension. [04 Aug 1993, p.E1]

Rising Sun doesn't work all that well as a thriller: it's far more successful in its old cop/young cop character study, and in its examination of cross-cultural tensions. [30 July 1993, p.C1]

Dopey but rather sweet. [30 July 1993, p.C1]

Mel Brooks has made a movie that's completely free and spontaneous, which at the same time is not in any way lazy or sloppy. [28 July 1993, p.E1]