Director/chief screenwriter Philip Kaufman used the same kid-glove treatment in his adaptation of Michael Crichton's controversial bestseller, but Rising Sun has enough mystique and chemistry among its stars to be worthwhile adult entertainment. [30 July 1993, p.6]

Nobody dies softly here; they're mutilated, splattered in blood and vomit, set up by people who'll get theirs soon.

What kept me laughing is the genuine camaraderie among Sandler's posse, the way they almost play themselves that perfectly suits this slim material.

It's all more extravagant yet less charming then before.

Director Chad Stahelski — Reeves' stunt double for Point Break and The Matrix — aims only for a kinetic revenge yarn with wrinkles drive-in movie critic Joe Bob Briggs might appreciate, like martial arts moves at point blank bullet range; what he'd call gun fu.

Spike Lee's cinematographer Ernest R. Dickerson demonstrates he has the juice to be a top-notch director with Juice. His directorial debut commands respect. What it needs is a deeper story to match its fine acting and visual panache. [17 Jan 1992, p.5]

While it is a visually dazzling epic, Farewell My Concubine rarely rises above the level of a sumptuous soap opera. [22 Dec 1993, p.7B]

The movie at times resembles a screenwriting workshop, with Delpy and Hawke trying to shoehorn every shade of this shifting relationship into a single scene. It doesn't feel genuine; certainly these two would know each other better by now.

Nostalgia counts a lot and needs to, with this sitcom-level material and Jon Turteltaub's uninspired direction.

What begins as an unflinching account of the victim's hospitalization, interrogation, feelings of anger and fear of intimacy, eventually succumbs to courtroom theatrics.[14 Oct 1988, p.6]

The Hangover Part III is more like "Beverly Hills Cop," a generic crime flick improved by comical touches that shouldn't fit the proceedings.

Sean Connery's familiar, imposing manner and the seething stares of Laurence Fishburne generate a lot of tension, but it is the mercurial hamminess of Ed Harris as a death-row madman that gives the film the goosing it needs. [17 Feb 1995, p.10C]

Alien is the most artful entry in the drool-beast series. It gets serious points for cinematography, editing and design. But it hardly generates the requisite shocks its predecessors have so skillfully delivered. [22 May 1992, p.8]

It's a nice pairing of singular personalities deserving better material, or a shorter leash on the improv.

James Gunn's second spin with Marvel's interplanetary misfits still entertains but this time the fun feels forced. Gone is the original's scrappy underdog spirit and a director operating like it's his only chance to make a movie.

Certainly amusing, but it never accelerates past one-note characters playing out separate personal crises in ways that aren't surprising.

The movie finds its humor in the royals' shock at Hyde Park's lacking decorum, and a hint of FDR's political savvy.

Finally though, it is Van Peebles who runs New Jack City aground. The film ends up being slightly long, both in terms of time and self-righteousness. Van Peebles is to be commended for making such a hip morality lesson, but New Jack City's finale, which is predictable and trite, could have been handled more creatively by a more daring director. [12 Mar 1991, p.1D]

Despite their banter, Kid plus Play plus slapstick and pratfalls do not equal funny. [05 Jun 1992, p.8]

Three elements rescue Three Men and a Baby from its inherent shallowness: its casting, pacing and its infant. Nimoy capitalizes on parental instincts without being cloying or cute, so after viewing Three Men and a Baby's tender moments, it's practically impossible to dismiss the movie as mere fluff. [27 Nov 1987, p.7]

Cher rips through this material, dragging the audience behind her. It's because of her that Suspect is so intoxicating and that the lapses in Roth's script are practically forgotten in the excitement. [23 Oct 1987, p.1D]

It's a scathing, somewhat setbound movie about greed, manipulation and the depths to which some people sink to survive. It's a movie that a lot of Americans can identify with. That's what makes it so painful to endure. [02 Oct 1992, p.9]

My Cousin Vinny is a mildly entertaining courtroom comedy that ultimately must be judged guilty of disappointment. Lynn and Launer's pop-movie mentality wastes a great idea and some terrific performances. [13 Mar 1992, p.10]

Director John G. Avildsen and screenwriters Tim Kazurinsky and Denise DeClue do an amiable job balancing humor and pathos while investigating the ultimate nightmare of every sexually active unmarried adolescent. [16 Jan 1988, p.1D]

Avalon is a crowning effort by Levinson. He could stop making movies today and be satisfied with his Baltimore trilogy. [19 Oct 1990, p.6]

Like its predecessors, A Dry White Season is too reserved to effectively depict the hell of South Africa. Its most powerful moments occur in the courtroom, in jail cells and morgues filled with dead black children when its starched white protagonist is safely off-screen. [06 Oct 1989, p.6]

Utterly satisfying as a musical work (and despite a climax lifted straight out of an old Star Trek episode), Graffiti Bridge doesn't do much for Prince's screen ambitions. [03 Nov 1990, p.1D]

Eddie Murphy is offensive. Eddie is pompous and arrogant. Eddie is a narcissist. Eddie is a wiseguy. Eddie is a trash-mouth. Is Eddie funny? Yes. Very. [23 Dec 1987, p.1D]

While The Stepfather doesn't transcend the limitations of most slice-and-dice movies, it comes close. And has fun trying.

Don't waste time by drawing comparisons between Romero's black-and-white original and Savini's spoofy vision. Romero's work, shocking at the time mostly because of its extreme gore and bleak finale, seems dated and narrow when viewed now. Savini's Night of the Living Dead, with its phosphorescent colors and loopy, frenetic pacing, is vastly more entertaining. [19 Oct 1990, p.12]

Had the writing matched their performances, Fried Green Tomatoes would be this year's Driving Miss Daisy. As it is, it's an absorbing period mystery and a hapless social comedy. Half of it works. [24 Jan 1992, p.28

Davis is the perfect empty-headed, enameled-nail airhead Valley inhabitant, and she is so sweet in whatever she does it is difficult not to like her. Expect nothing more than a few laughs and a break from the heat, and Earth Girls Are Easy will not disappoint you. [10 June 1989, p.1D]

Not Without My Daughter is so patriotic that it plays like propaganda from the U.S. Defense Department. [11 Jan 1991, p.7]

The two women seem genuinely comfortable with each other, and it shows in their unselfishness and timing in a film that moves from verbal humor to slapstick. [30 Jan 1987, p.4D]

The payoffs are big, even though heavy-handed direction by Lumet (Prince of the City, The Morning After) and a smart but sometimes soggy script by Vincent Patrick threaten to weigh the actors down. [19 Dec 1989, p.5D]

Taking Care of Business is the funniest movie Charles Grodin, Jim Belushi and director Arthur Hiller have made in years. [17 Aug 1990]

Blue Steel is a horror movie masquerading as a cop thriller. It's a compelling, preposterous mixture of Fatal Attraction and Halloween, about a rookie cop who becomes romantically involved with a psycho killer. [16 Mar 1990, p.7]

Audiences get what they pay for: suspense, chills and a bloody resolution as Sleeping with the Enemy charts its predictable course with Martin tracking Laura to small-town Iowa where she's being courted by a patient, polite, fuzzy-bearded drama teacher named Ben. But the picture doesn't delve deeply enough into the problem of spouse abuse. [08 Feb 1991, p.7]

Hot Shots is consistently funny, but it produces more guffaws than laughs. Its jokes read better than they play on screen. It's not The Naked Gun, though considerably better than The Naked Gun 2 It suffers a bit from its underdeveloped plot: a bunch of greedy industrialists want Harley's squadron to crash and burn so they can sell the Navy a new, super-expensive warplane model. [2 Aug 1991, p.6]

Alda's accomplishment is to bring humorous reality to this predictable but charming movie about a young woman named Betsy Hopper (Molly Ringwald), who has been encouraged to lead an independent life by her parents until it comes time for her traditional wedding.

Scott retains his sense of mood and tension. Despite the script's predictable and flawed nature, he elevates Someone To Watch Over Me to the point that it emerges as a surprisingly satisfying piece of filmed entertainment. [9 Oct 1987, p.3D]

It defies convention. It breaks taboos. It isn't a pleasant experience, but it is challenging. [21 June 1991, p.7]

Superman IV: The Quest for Peace doesn't attempt to disguise its sentiments - no more so than Greenpeace - but neither does it lose the campy spirit of the 1978 original. Although never as stylish as the first movie, it shows verve and a modest wit. Superman IV is not as funny as the first sequel, but it isn't as violent, either. [27 July 1987, p.1D]

Glory ends with a flourish, although much is left unsaid. [12 Jan 1990, p.21]

A solid, ultimately uplifting comedy that questions what we require of our heroes and our popular notions of bravery. [02 Oct 1992, p.5]

Newman is terse and quietly assured as Groves. He gives Fat Man and Little Boy its rigid backbone, its sense of purpose. Regrettably, he spends a fair amount of time off screen and away from Los Alamos. [20 Oct 1989, p.6]

There are good laughs to be gleaned from CB4's scattershot, loosely structured scenario, which was co-written by Robert LoCash and producer-culture critic Nelson George. The upside of this sloppy storytelling is that it allows director Tamra Davis to insert some dead-on parodies of music videos. [13 Mar 1993, p.8D]

The movie is too unwieldy and densely packed. The superb performances by Snipes, Sciorra, McKee, Turturro and Jackson can't overcome its sprawling nature. [7 June 1991, p.6]

This is a fun picture, even if it's overly sentimental and has the feeling of an extended Amazing Stories segment. Director Dear is a master Spielbergian craftsman. Now, all he has to do is demonstrate some originality to establish himself as a quality film maker. [5 June 1987, p.1D]

My Girl isn't a must-see, it isn't as lyrical or as deeply moving as it should be, but it is a rare family film. It addresses serious subjects with honesty and earnestness. And it has a heroine worth crying for. [29 Nov 1991, p.5]

It's unfortunate a picture as lovingly envisioned and beautifully rendered as Hope and Glory has to struggle to find a resolution. [25 Dec 1987, p.7]

Romantics of any age will probably succumb to Depp's deft portrayal, cinematographer John Schwartzman's fantastic vision and Berman's comic wordplay. [23 Apr 1993, p.5]

Mortal Thoughts is limited both by its scope and its structure, a relentlessly long Q&A session that relates what happened through a series of flashbacks. It grows tedious at first, then becomes frustrating as the women bungle their alibis and the truth is revealed. [19 Apr 1991, p.6]

What ultimately is so distressing about The Last Boy Scout is that, despite its loathsome attitude, it is an outstanding action thriller. It sets its sights a hair above the gutter and hits bullseye every time. [13 Dec 1991, p.5]

Though the movie version of Margaret Atwood's The Handmaid's Tale isn't as powerful as its source material, there are enough stark, unnerving images here to give the effort an Orwellian potency all its own. [17 Mar 1990, p.1D]

Death Warrant holds more interest than many of its genre. [21 Sep 1990, p.7]

It's a stunning, dazzling motion picture that somehow, almost unaccountably, has the magnetism of a slab of corned beef. [20 May 1988, p.6]

Powaqqatsi is a melange of images and music, so beautiful and mesmerizing that it's completely possible to overlook Reggio's message. [09 Jul 1988, p.1D]

Van Damme, who co-wrote the script, set out to make a punch-packed, entertaining action film, and succeeded. [18 Jan 1991, p.10]

While there isn't much mystery to this mystery - only a handful of suspects are interviewed - there is a compelling sense of helplessness underscoring the lives of all its characters. In that sense, Sea of Love is a gender bender Looking for Mr. Goodbar, a disturbing allegory for the '80s when the fear of AIDS and sexual violence only deters a percentage of the singles population from making its appointed meat-market rounds. [15 Sep 1989, p.6]

Like its predecessor, Gremlins 2 is a fun, roller-coaster ride of fiendish pranks and spilled gremlin innards. [15 Jun 1990, p.6]

If only lead actors Johnny Depp and Amy Locane could sustain the perverse pleasures Waters envisions. [6 Apr 1990, p.7]

FernGully...The Last Rainforest is surprisingly fun for being the first politically correct, environmentally conscious full-length animated film. [10 Apr 1992, p.5]

Mo' Better Blues is not only about artistry unfulfilled. It is artistry unfulfilled. It is perfection without a meaningful plot. It lopes along, pleasantly, never reaching fruition. [03 Aug 1990, p.18]

At the film's beginning, each of these characters seems hopelessly dated and repressed. It's as if they walked out of a 1940s romance. Yet that's the beauty of Only the Lonely. Innocence has its virtues, as Columbus' bittersweet comedy demonstrates. [24 May 1991, p.14]

Like Hi and Ed, Raising Arizona has a few problems. The repeated slapstick chases and fights are a little wearisome, and the final showdown between Hi and the biker is badly overdrawn, and gratuitously violent in the DePalma- Cronenberg style. Still, there is something appealing about a film that lists "baby wrangler" among the credits. And little T. J. Kuhn is liable to start a "critter boom" all by his lonesome. [10 Apr 1987, p.1D]

Indeed, there's so much cutting between Hackman on the ground and Glover in the sky, the overwhelming feeling at the end of Bat 21 is relief that the viewer was able to get through the ordeal without a dose of Dramamine. [21 Oct 1988, p.6]

But the movie is more than just a rehashing of the tried and true jokes. All the old charm is still there, but there's also a whole new setting and a whole new look. [6 July 1990, p.6]

Sidewalk Stories is a comedy of forgotten pleasures. It harkens back to the purest form of cinema to silently record what passes for society today. [16 Feb 1990, p.11]

It's not an art film, although it's an extremely intelligent piece of filmmaking. [27 Apr 1987, p.1D]

Henry & June is a sumptuous film, more deeply shaded and richly appointed than Kaufman's The Unbearable Lightness of Being. While it fails to capture the lovers' emotional evolution, it does project their individual concerns. [05 Oct 1990, p.6]

The Secret of My Success is Ross's most engaging romantic comedy since California Suite. Interestingly, it uses some of the best elements of his less successful movies: the pictorial splendor of Pennies from Heaven, the fusion of music and image in Footloose, the unbridled comic delivery of Protocol, the sense of character from Max Dugan Returns. [10 Apr 1987, p.1D]

Frantic is an engrossing character study, but as a thriller it sometimes relies on cliches. For starters, the whole mess is triggered by a case of mixed-up suitcases. A drug shipment? No, worse: a device that could give some Arab bad guys nuclear weapons. Several action scenes are lifted from the Hitchcock style, but they don't capture the master's sense of suspense. Polanski weaves in moments of dark humor amid all the intrigue. [01 Mar 1988, p.1D]

Stallone and Russell don't bore. As verbal sparring partners, they provide plenty worth watching.

The Witches of Eastwick is a theme park without a theme. Like Nicholson and his co-stars, Miller doesn't have a lot on his mind. He just wants to have fun. His movie is organized mayhem, a strange and funny tour de force. [15 June 1987, p.1D]

The young Tianbai, Zheng Jian, is as demonic as a flesh-and-blood Michael Myers. Yet Ju Dou is grounded in the stark reality of turn-of-the-century China, where Confucian law has governed life for generations and where adultery is punishable by ostracism or death. [19 Jul 1991, p.7]

RoboCop 2 moves fast and looks great. How much you like it depends on your tolerance for machine-gun mayhem. [22 June 1990, p.6]

The Rover fascinates and frustrates in equal measure, with Michod withholding details of plot and character so thoroughly that a nihilistic fog sets in.

Kong: Skull Island strips the beauty from a legendary beast, reducing a classic movie star to soulless monster mechanics. Kong smashes, but not much else. Whoever dies doesn't matter. Whoever lives has a sequel promised by the end credits.

From the impure perspective of someone who hasn't read King's series, The Dark Tower isn't half-bad. Faint praise, but this movie will take all it can get.

It feels like a rush job, needing another draft or two for cohesion's sake, or for Allen to decide what sort of story he's telling.

Director Patrick Hughes' instinct isn't to find dark humor in violence, only to graphically depict it. There's a sadistic edge to The Hitman's Bodyguard that's unbecoming to its comedy.

Real Steel is sci-fi without the science, and the fiction is strictly 20th century, straight out of Rocky knockoffs.

Russell remains one of our most adorable, underused actors, although this role lacks the emotional and comedic breadth of her turn in 2007's "Waitress."

White House Down is nearly enough fun to be a bad movie that's a good time. But it always finds some way of being a drag, belching exposition and weak humor when action's all we need, then carrying the action to exhausting lengths.

Cool Runnings is enormously unfaithful to its subject, piling on one sports cliche after another with shallow characterizations...Regardless of those faults, Cool Runnings has an agreeable goofiness to it that brushes aside any picky complaints. It isn't art, but it surely is disposable fun. [1 Oct 1993, p.6B]

Chastain plows through this tangled scenario with an icy ferocity that's entertaining. You get the feeling that Miss Sloane would work better as a streaming or cable series, allowing more time to explore characters and issues, giving actors more room for dense dialogue. Maybe come up with a better way out of that corner.

Winter's War isn't tedious. Amiably bad movies seldom are. Theron and Blunt look fabulous doing silly, screechy things in Colleen Atwood's costumes. Chastain makes Sara a formidable match in battle and bed with Eric, who becomes less important as these wonder women converge.

There's no disputing Streep's brilliance, which this time feels more calculated than usual, in a movie demanding only an impersonation.

Mostly it's hamstrung by an abundance of reverence and dialogue sounding like an art studies syllabus when it isn't rehashing war movie tropes.

Endings have never been Russell's strong suit. This time the beginning also eluded him, and the middle fell into his lap. Joy leaves a feeling of panicked disappointment, as if phone lines are open and nobody's calling.

Sister Act 2's other saving grace comes from its positive messages of hard work and responsibility, and a thoughtful, though underwritten, subplot about a talented student (Lauryn Hill) and her strict mother (Sheryl Lee Ralph). [10 Dec 1993, p.7]

This is science fiction needing more work on the fiction part, an intriguing premise running its course halfway through. Passengers is too smart for starters to devolve into green screen spectacle relegating its attractive stars to unconvincing gapes.

Stylish to a fault and straying from the source, Guy Ritchie's The Man From U.N.C.L.E. revives a 1960s television hit for the short attention spans of today's youth-skewing movie audience.

The two disparate stories never gel, and Keanu Reeves doesn't fully capture the dignity of a deity. [27 May 1994, p.8]

As wild as Medak wants it to be, Romeo is Bleeding isn't startling or - with the hellcat exception of Mona Demarkov - especially original. Even a fresh movie genre with an urgent title like New Violence can inspire some filmmakers to deliver the same old thing. [25 Feb 1994, p.6]

I expected, even wanted to cry at The Fault in Our Stars, or at least choke up a little. Yet the transparent eagerness of this movie to break hearts, through means not entirely justifying that end, always pulled me back.

Director Rupert Wyatt (Rise of the Planet of the Apes) doesn't match the feverish nature of Karel Reisz's original, and the gambling sequences convey the sameness of a habit but not as much tension to it.