Distant Voices, Still Lives is both a personal and social portrait. It often flows without dialogue, eloquently relating a tragic story that words could not describe. [10 Nov 1989, p.13]

A well-intentioned but negligible story elevated to the charming through elegant performance and direction. It probably wouldn't work with any other players, but it gets high marks here. [27 July 1990, p.7]

Salaam Bombay brilliantly reminds us, with barely a trace of sugarcoating, that there must always be room for the children. [23 Dec 1988, p.8]

The Last of the Mohicans is grand entertainment. Romantic, exciting, though unremittingly violent at times, it is rich in frontier lore and in its respect for the land that the conquering settlers too often take for granted. [25 Sep 1992, p.5]

Fonda's comedy instincts are in top form as a herpetologist duped by a con artist (Barbara Stanwyck) in a screwball comedy from director Preston Sturges. A vintage example of pratfalling into love. [16 May 2002, p.11W]

It's a feather-light fantasy bouyed by faith, hope and good will. [15 Dec 1989, p.12]

After his hit-and-miss starring role in Purple Rain and the so-bad-it's-funny Under the Cherry Moon, Prince has come into his own as a film maker by doing what he does best: putting his consummate musical and performance talents into a vehicle that smokes from wire-to-wire. [29 Dec 1987, p.3D]

Aladdin is a treat for adults, as much as it is for children, because the big blue Genie of the lamp is none other than Robin Williams. [25 Nov 1992, p.7B]

The Package has its shortcomings - notably its disjointed beginning and some implausible miscalculations by the conspirators toward the end - but it generally hums at a healthy clip with twinges of Big Brother paranoia. [25 Aug 1989, p.12]

A slam-bang terrorist thriller from first frame to last. It also is astonishingly conventional. You've seen the plot machinations up to the final showdown in a dark, secluded house in dozens of movies before, though rarely so well-orchestrated. [5 June 1992, p.5]

Radio had a mystical power that television never has been able to re-create. Its sound effects and faceless voices stirred the imagination and quite often the heart. Allen captures its essence with an anguished broadcast from the scene of an accident, an attempted rescue of a young girl wedged in a well shaft. [20 Feb 1987, p.1D]

While Alive is a superb ensemble piece with a half dozen other notable performances, its strength lies with its spirituality. [15 Jan 1993, p.8]

Gary and Martin Kemp, better known in pop music circles as Britain's Spandau Ballet, are superbly, diabolically creepy as the Krays. They give the film its otherworldly, yet street-smart and gritty, sense of being. [09 Nov 1990, p.7]

Writer-director Levinson returns to Baltimore (his home town) with a perceptive, rueful comedy called Tin Men. It is about male camaraderie and revenge, and it, too, uses its setting as a statement. Baltimore, circa 1963, represents hope, transition and a fading American Dream. [13 Mar 1987, p.1D]

The Mission, grand prize winner at the 1986 Cannes Film Festival, recognizes the bounds of the picture experience and strives to stretch beyond. [16 Jan 1987, p.1D]

There are occasional missteps. The movie's pacing is uneven. The scandal is overblown...But the performances are excellent, and the sentiment is honed to ugly perfection.

Writer-director Shelton builds his story around Starr's and Long's scandalous affair, capturing Long's unprecedented bid for a fourth gubernatorial term and his fight against Louisiana's voter registration law, which disenfranchised illiterate blacks. Through Long's eccentric and purportedly immoral behavior, Shelton captures the last gasp of American innocence when public officials could do as they pleased with minimal scrutiny by the press. Handsome, fulfilling, though not entirely perfect movie. [13 Dec 1989, p.1D]

Otomo's masterwork uses its brilliantly detailed images to illustrate an epic commentary on the choices that face society and the possibilities for destruction in the near future. [15 Jun 1990, p.7]

Narrow Margin cares more about characters than pyrotechnics or double-digit body counts. Its emphasis is on relationships, dramatic situations and settings, and how these combine to create a deeply satisfying yarn. [21 Sep 1990, p.6]

Q & A marks Lumet's return to stride after Family Business, Running on Empty and The Morning After. When he deals with New York, cops and corruption, he can't be surpassed. [27 Apr 1990, p.6]

Too often, the movie relies on the contrived situations endemic to gangster movies, rather than explore new routes to tell the story. Yet, there is an undeniable visual power that places The Untouchables in the class of The Godfather and Once Upon a Time in America. [3 June 1987, p.1D]

The roller coaster of events more than compensates for the film's inane dialogue. Innerspace is the stuff summer adventure is made of. [1 July 1987, p.1D]

Stand and Deliver does what it promises. It delivers. [30 Mar 1988, p.1D]

A Cry in the Dark reaches out from the screen to make an emotional connection that doesn't let go until the final credits. It is a wonderful film. [16 Nov 1988, p.1D]

A near-flawless thriller. [28 Aug 1987, p.1D]

Florence Foster Jenkins is too much old-fashioned fun to saddle with ideas. Just sit back and let Meryl screech.

For all its eccentricity Logan Lucky too often reminds us of movies Soderbergh or someone else made before.

Is it funny? Absolutely. Sausage Party also gets a bit exhausting, even running under 90 minutes. We're hearing essentially the same dirty jokes over and over, in a movie saved by its brilliantly filthy finale.