One of the wildest and funniest satires since the original Airplane. [15 Jun 1990, p.3F]

'Back to the Future Part III is somewhat overlong and a little slow in getting started, but on the whole it provides an entertaining and emotionally satisfying conclusion to a memorable series. [25 May 1990, p.3F]

Twenty or 25 minutes of good air-action sequences, otherwise dull. [17 Jun 1990, p.7F]

The movie falters once in a while, but Williams, whose frenetic pace had to drive the cinematographers crazy, is again impressive. There are serious moments in and around the comedy, and the comedy is delightful. [18 May 1990, p.3F]

Moves along quite entertainingly for a while and then begins to get swallowed up by its own high (and high-tech) concepts. By the end, what had been a rather amusing, zany chase comedy starring Mel Gibson and Goldie Hawn has turned into a bizarre and totally ridiculous free-for-all in a zoo, with crocodiles slithering and tigers roaring and piranhas chewing up people. [18 May 1990, p.3F]

A FEW mildly erotic soft-core sex scenes separated by long stretches of very pretentious, bad dialogue and some travelogue shots of Carnival in Rio: That's about it for Wild Orchid. [25 May 1990, p.6F]

The Nanny is special effects at their most vulgar, with a thin, silly plot line that is there only to give the special-effects folks a place to start. [30 Apr 1990, p.5D]

Q&A is about 20 minutes too long, and it sometimes gets confusing, but Lumet, who has been making powerful films since Twelve Angry Men in 1957, has not lost his strength. [27 Apr 1990, p.3F]

A generally entertaining movie. Given the material, however, it probably should have been better - somehow, few of the scenes in the movie stick in the memory the way they do in Willeford's book. [20 Apr 1990, p.3F]

CRAZY PEOPLE is a one-joke movie. It's a pretty good joke: Slightly unbalanced people write ads that tell the absolute truth about products, and the products sell like crazy. But it isn't good enough to make us care for long about a mental-institution romance between Dudley Moore and Daryl Hannah that has the feel of ''David and Lisa: The Sit-Com.'' [13 Apr 1990, p.3F]

IF you loved ''Hairspray,'' you'll probably like ''Cry-Baby.'' John Waters' latest teen-age musical spoof is entertaining. But it lacks some of the satiric edge that made ''Hairspray'' rather outrageous, although it was quite tame compared to some of Waters' earlier movies. [6 Apr 1990, p.3F]

It's moderately entertaining until about halfway through, when it gets totally out of control. [16 Mar 1990, p.3F]

A remarkably cold re-telling of a tale that, when we encountered it before, was shattering in its emotional impact. [16 Mar 1990, p.3F]

JOE VERSUS the Volcano starts out like a house afire and simmers along quite adequately until about two-thirds of the way through, when it begins running out of fuel. From there, it sputters fitfully and dies at the end. Despite the problems in the third act, this comic fable is, on the whole, quite enjoyable. [9 Mar 1990, p.3F]

This is an entertaining, sexy, cleverly constructed thriller. [09 Mar 1990, p.3F]

The overall direction of the movie may be strongly polemical, but its real strength comes from the resonance of a hundred subtle moments. [04 May 1990, p.3F]

This is a sad and gallant chapter, and a first-rate movie. [12 Jan 1990, p.3F]

The screenplay, by Jim Harrison and Jeffrey Fiskin, from Harrison's novella, might have made a good B movie, but Scott refused to let that happen. He was out to make another A movie, and made an F movie that also is excessively and unnecessarily violent. [19 Feb 1990, p.5D]

If Midler weren't involved, and if she weren't surrounded by a good ensemble, the whole enterprise probably would fall into a watery grave. But Midler carries off the role. [2 Feb 1990, p.5F]

With its excellent, offbeat cast, its sprightly pacing and its goofy tone, Tremors is the kind of movie that propels you out of the theater with a grin on your face. [26 Jan 1990, p.3F]

The movie won't stand up to much analysis, but it delivers a fair amount of electricity, and Gere plays his nasty character with a great deal of relish. Internal Affairs is fun, in a rather perverse way. [11 Jan 1990, p.3E]

McNaughton directs well, and with power, but celebrating murder is a waste of his talents. [17 August 1990, p.3F]

It takes awhile for the contemporary moviegoer to adapt to the deliberate pace and the lack of dialogue, but ''Sidewalk Stories'' becomes harder and harder to resist as it goes along, and the ending in a small park filled with homeless people is quite effective. [11 Jan 1990, p.3E]

The result is a movie with a lot of hysterically funny lines (including a nod to St. Louis) shooting through the banal, timeworn plot, relieved occasionally by a well-wrought sketch. Director Steven Spielberg tries to stir this mixture, but it's just too flour-y. [22 Dec. 1989, p3F]

A brilliant, ironic, black-humored story that shows what happens when the American Dream becomes the American Nightmare. [12 Jan 1990, p.3F]

This is Daisy's story, and Hoke's story. It's a beautiful story, filled with warmth and compassion. It was a glorious evening of theater when I saw it, and it's just as glorious on the screen. [12 Jan. 1990, p.3F]

Penn and de Niro are wonderful as the changelings, trying to adjust to a community of goodness after one of badness. They speak English with an accent as thick as an elephant's hide and they make faces that communicate far beyond words. They work well under the direction of Neil Jordan, who steers the movie on its fine course between comedy and drama. [17 Dec 1989, p.7]

The screenplay is such a mess that the cast cannot overcome it, and the result is a major disappointment. [18 Dec 1989, p.3D]