It never digs very deep. But it's palatable and well-meaning. It's a Disneyland version of a big-issue movie. Nothing great. But we could do worse. [07 Feb 1992, p.7]

Wind only hits full stride during the racing sequences, filmed with stunning authenticity by cinematographer John Toll. This movie should be a shoo-in for an Oscar nomination for Toll's work. But there hasn't been such a threadbare film so dependent upon its camera work since Days of Heaven. [11 Sep 1992, p.10]

Deceptions drive A Kiss Before Dying. Too bad they're too implausible to impart any sense of believability in this bloody fantasy. [26 Apr 1991, p.10]

Movies like Miss Daisy purport to be humanistic or aimed at a higher consciousness, but they're as self-righteous and silly as the one-dimensional characters they depict. [12 Jan. 1990, p.7]

Chevy Chase only knows how to play Chevy Chase. Unless he jettisons his smug routine and learns to act, he will always be his and his movies' biggest liability. [17 March 1989, p.6]

More than a little has been lost in the translation. Screenwriters Richard Maxwell and A.R. Simoun have created a horrific Indiana Jones adventure with Davis being portrayed by Bill Pullman, an actor who does a poor imitation of Michael Douglas doing a poor imitation of Harrison Ford.[6 Feb 1988, p.2D]

Even Pee-wee seems subdued. The man-child whose suit cuffs are intimate with his ankles and elbows is growing up. Kids may still adore him. But adults will find his persona worn at the edges. [23 Jul 1988, p.1D]

Despite sharp humor and bravura performances - including a cameo by Regis Philbin as the epitome of Harry's dream of success - Night and the City is not a pleasant experience. While anything less would betray its bracing dose of true grit, Night and the City is so downbeat that it ultimately seems like an exercise in self-flagellatio.

Belushi is the Clydesdale of formulaic comedies. He performs as expected with little artistic invention. He carries Mr. Destiny amiably, although a more resourceful actor might have provided the additional gloss this formulaic comedy so sorely needs. [12 Oct 1990, p.12]

The wise viewer will avoid any serious consideration of subtext here. Internal Affairs isn't that deep. Working from a screenplay by Henry Bean, Figgis takes these early scenes and does nothing with them. After a while, the film simply loses its direction and stalls in a morass of formulaic cliches. [13 Jan 1990, p.1D]

With its clunky, overworked script (credited to a non-existent Joseph Howard) and Emile Ardolino's predictable direction, Sister Act is a spry but witless comedy aimed at mainstream audiences. [29 May 1992, p.6]

Goldberg has honorable intentions. But like Tammy Faye's make-up, it's impossible to see beneath his movie's overwrought facade. [27 Oct 1989, p.7]

Let's face it: Caine could do a lambada movie and it'd be worth seeing. His work in the new suspense thriller A Shock to the System carries us past the movie's bad direction and muddled script. [24 Mar 1990, p.2D]

Cadillac Man's beginning and ending are superb. (The hearse sequence is classic.) But the movie, like most of the salesmen's waists, sags heavily at its midpoint. [18 May 1990, p.6]

Director Bridges coaxes nothing from his smooth-faced star, which is surprising in view of his previous films - Urban Cowboy, The China Syndrome, The Paper Chase - all of which had strong leads (John Travolta, Jane Fonda, Timothy Bottoms). Bright Lights, Big City is certainly an improvement over Bridges' last film, Perfect, but this material requires more intensity than Fox can muster. [5 Apr 1988, p.1D]

Romances such as Frankie's and Johnny's work better in the artificial environment of the stage than the "real" world of movies. The couple's bond seems phony from the start. [11 Oct 1991, p.7]

Schepisi & Co. appear to have forgotten a tenet of film making: A moving picture needs to move to succeed. [21 Dec 1990, p.6]

Death Becomes Her is a comedy so dark and disjointed that not even some terrific makeup effects can cover its blemishes. [31 July 1992, p.5]

This movie misses its mark, never becoming the suburban satire promised on the poster. It doesn't offend, it bores. Most people, even diehard John Candy fans, will want to wait for the video release. It shouldn't be a very long wait at all. [18 Aug 1989, p.12]

Borrowing liberally from Arthur and A Fish Called Wanda, the Little Lady ekes out a few good chuckles at its climax by combining slapstick with broad satire of British manners. [21 Nov 1990, p.1D]

A relatively inane movie about good will and unfounded distrust. [06 Nov 1987, p.3D]

That's Home Alone 2's biggest shortcoming. Hughes merely moved his movie to a new locale and wrote a retread. [20 Nov 1992, p.5]

A suggestion: Mr. Pyle should stop writing screenplays Pacific Heights is more tedious than a lease's fine print and tour the country lecturing on the dangers of landlording. [28 Sept 1990, p.6]

Like The Postman Always Rings Twice, Rafelson's Black Widow is seriously flawed despite several compelling scenes. It plods to a contrived resolution, piling implausibility upon implausibility, rarely pausing to account for the incredulous events that transpire. It is the type of movie that squanders potential at every juncture. [7 Feb 1987, p.5B]

Vice Versa shouldn't be happening to Judge Reinhold. He's too wonderful to be squandered on a movie plot that could have been shaped by a roomful of third graders with magic markers and lined paper. [11 Mar 1988, p.6]

Star Trek V: The Final Frontier is an uneven mix of shopworn comedy and talky space adventure...If it's moderately engaging, it's because the material is familiar and never taxing. Star Trek V: The Final Frontier goes where no man has gone before. Barely. [9 June 1989, p.12]

Hook is largely failed by his earnest, workmanlike cast of boys who seem painfully aware that Lord of the Flies is an Important Movie. [16 Mar 1990, p.12]

Director Ted Demme (Jonathan's nephew, Who's the Man?) guides this predictable action with a leaden hand. It's as if he, like everyone else in The Ref, is holding back, awaiting Leary's next inspired, caustic riff. That's a lot of pressure for a cult-level comic in his first lead role. He doesn't always measure up. [11 Mar 1994, p.8]