As a realistic horror movie, Misery is effective. If you like Stephen King books, you will probably like Misery. However, I kept hoping that Reiner and Goldman would do more with the material. [30 Nov 1990, p.3F]

Three Men and a Little Lady is by no means great comedy, but it is enjoyable nonsense, significantly better than the original movie with its overdose of cutesy-poo gags. [25 Nov 1990, p.7C]

The Rescuers Down Under is further evidence that the Disney organization has regained its magic touch with animated features. [16 Nov 1990, p.3F]

A generally absorbing, sometimes harrowing look at the violent rise of twin brothers named Kray to the top of the London underworld. [09 Nov 1990, p.3F]

When Child's Play 2 isn't dwelling on some atrocity being performed on a character nobody cares about anyway, it commits the ultimate horror genre transgression: It's really, really boring. [12 Nov 1990, p.3D]

Prince is a puzzle. Unfortunately, in Graffiti Bridge, he isn't a very interesting one. The main problem may be that most of the music in this sequel to Prince's 1984 musical Purple Rain is mediocre, mainly derived from rap and funk but without the energy those forms generate when they are presented raw. [06 Nov 1990, p.4D]

A highly sensual but not very believable love story between a 43-year-old woman and a 27-year-old man, and not much else. [19 Oct 1990, p.3F]

The sweeping scenery, made even more thrilling by Basil Poledouris' score, makes up for the slow moments. And Selleck and Rickman are equally convincing in their respective roles as the undisputed good guy and bad. [19 Oct 1990, p.3F]

Winona Ryder, who stars as brooding teen Dinky Bossetti, is the one good thing about ''Roxy.'' She has talent enough to transcend the script: I actually cared about the ending, when Dinky finds out whether Roxy Carmichael is her real mother. If only getting there had been more fun. [18 Oct 1990, p.6E]

Memphis Belle is a great movie of men in combat, and the bonding it provides. At the same time, it shows the awful face of war so quietly that it speaks with great volume. [12 Oct 1990, p.3F]

A beautiful movie, probably more erotic than any mainstream film ever made and yet never remotely pornographic, at other times hilariously funny. [05 Oct 1990, p.3F]

One of the best adult suspense films of the year. [28 Sept 1990, p.3F]

Texasville is much less memorable than The Last Picture Show, but it is well worth seeing, particularly if you loved the original movie and are curious about what happened to the people in it. There are some slow spots, but not too many. And there are more laughs than tears, although, as country music fans know, it is often hard to tell the difference. [28 Oct 1990, p.6C]

On the whole, director Phil Joanou and writer Dennis McIntyre have done a first-rate job of giving us believable characters acting believably in a believable (if horrific) situation. [05 Oct 1990, p.3F]

Ordinarily, one decries the violence in the streets, in life or art - or rationalizes that violence on the screen is a healthy outlet for man's inhumanity to man. But there's no such highfalutin psychology in The Killer. The film is just plain outlandish - and anyone who doesn't get the hyberbole should have a 99-year lease on The Farm for the Bewildered. [16 Aug 1991, p.3F]

Foley's direction approaches perfection, almost always avoiding thriller cliches and showy distractions in favor of a crisp yet imaginative visual style. After Dark, My Sweet delivers the goods as a crime movie, but it is a fascinating character study as well. [14 Sep 1990, p.3F]

Estevez couldn't decide what he wanted: a doofus comedy, a serious political statement, a mystery, a Bowery Boys' knock-off. The result is sophomoric. [27 Aug 1990, p.5D]

Using a screenplay by Allan Scott, Roeg directs with care, blending fantasy and whimsy with a chilling touch of evil. It works and it works well. [21 Feb 1991, p.4E]

Exorcist III asks for the dark recesses of your imagination. It's not an intense stomach-churner, but is more menacing to the mind of the beholder. [18 Aug 1990, p.1D]

Taking Care of Business gives little but doesn't take much away, either. It's not a film where you fret about whether everything is going to work out, and you know all the dangling strings are going to be tied in fancy bows by the end. [22 Aug 1990, p.5E]

Sometimes brilliantly original, at other times dull and formulaic, Mo' Better Blues is well worth seeing - for jazz and Spike Lee fans, it's a must-see - but it often fails to engage us on a deep emotional level. [03 Aug 1990, p.3F]

A generally entertaining Western with some striking images, Young Guns II is significantly better than the original Young Guns. [02 Aug 1990, p.4E]

A rare summer movie that is both exciting and thought-provoking. [27 July 1990, p.3F]

The Freshman is not the kind of movie where one wonders about plot twists or logic. One enjoys Brando and Broderick, and chuckles at a considerable amount of comedy. [27 July 1990, p.8F]

To me, an ordinary - but often exciting - adventure tale became a sordid look at American society and the American military, with a sickening defense of the-end-justifies-the-means philosophy. [20 July 1990, p.3F]

Unfortunately, not only was I disappointed with the lackluster animation, but I was also bored with the flatness of the characters and story. And if that wasn't enough to throw cold water on warm cartoon memories, screenwriter Dennis Marks forces the audience to listen to a bunch of forgettable, bubble gum tunes by Tiffany, who plays the voice of the Jetsons' daughter, Judy. [12 July 1990, p.6E]

Die Hard 2, which is far and away the best of the big summer action pictures, is an almost perfect blend of suspense, thrills, human drama and, perhaps most important, comedy. [6 July 1990, p.3F]

I liked the first film. I found it imaginative, and I thought Paul Verhoeven's direction was fascinating. Robocop 2 is just another sequel. [22 June 1990, p.3F]