The first film that comes close to capturing the Bohemian flair and everyman accents of Generation X life while remaining a first-rate piece of entertainment. Stiller and his knowing screenwriter Helen Childress fashioned a wise, very funny film that brightens the slow early going of 1994. [18 Feb 1994, p.6]

Donaldson mimics the original shot-for-shot in some sequences, adding sordid violence that would have been too extreme even for Peckinpah. What's needed is a fast Getaway. This is merely Donaldson, Hill and glamorous stars spinning their wheels. [11 Feb 1994, p.6B]

Heigl is a comely newcomer, displaying convincing pouts and snits in a role designed to appeal to independent adolescent girls and dirty old men. [4 Feb 1994, p.7]

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]

Just like Will Stoneman himself, it crosses the finish line battered and wobbly, but a winner nonetheless. [14 Jan 1994, p.7]

Ghost in the Machine doesn't possess the funky, laugh-at-me mentality of good trash, or the good sense to know when its half-baked storyline is getting old. [30 Dec 1993, p.10B]

A sloppy, schizophrenic effort; a rollicking parody, a somber romantic tragedy, an orgy of violence and an incomplete work on all fronts. [24 Dec 1993, p.9]

The latest incarnation of Bob Kane's classic comic book creation shares the same angular, menacing animation style of the Fox TV Network afternoon series that inspired it. [25 Dec 1993, p.7B]

The best moments in Wayne's World 2 have been done before and better - a kung fu movie spoof and a running gag based on Oliver Stone's The Doors (which was unintentionally funnier). Surjik trots out a slew of star cameos and cinema salutes, but without the verve of Hot Shots!, Fatal Instinct or Wayne's World itself. [10 Dec 1993, p.6]

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]

Eastwood keeps the tension humming from his director's chair and contributes a little too much comic relief, but gives Costner an eye-opening, image-shattering showcase that adds a sheen to his often-criticized acting career. [24 Nov 1993, p.6B]

Addams Family Values is a rare sequel that surpasses the original, primarily for the same reason that Superman II topped the Man of Steel's first outing. This time, Sonnenfeld doesn't bury the jokes in exposition about characters we already know. [19 Nov 1993, p.7]

Carlito's Way isn't a bad movie, just one that could be much better with more of the subversiveness that Pacino and De Palma wrought in Scarface. [12 Nov 1993, p.8]

The Three Musketeers circa 1993 is diverting enough for the non-discriminating moviegoer, but for the real deal check out the '70s classics. [12 Nov 1993, p.5]

Robert John Burke, who replaces Peter Weller as RoboCop, gives the cyborg as much personality as his character's circuits allow. [08 Nov 1993, p.6B]

Another paper-thin premise comes back to haunt moviegoers. [5 Nov 1993, p.5]

Nunez handles Ruby's fragile personal growth with a loving concern that might escape most male filmmakers.

Reiner, O'Malley and a cast schooled in the Leslie Nielsen academy of deadpan hilarity make Fatal Instinct more fun than it has a right to be, without pretensions or dependency on past glories. [30 Oct 1993, p.5B]

Technically dazzling but emotionally empty. [22 Oct 1993, p.5]

Rudy and his wonderful story could make even an FSU fan genuflect before Touchdown Jesus. [13 Oct 1993, p.6B]

One of the family comedy treats of the season. [15 Oct 1993, p.6]

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]

After years of watching Hollywood portray mentally disturbed people as either psychopaths or cuddly idiots, it's refreshing to see what Figgis and screenwriters Eric Roth and Michael Cristofer have done with Mr. Jones. Some of the old cliches rise up now and then - beginning with the casting of heroic Richard Gere in the title role - but Mr. Jones mostly maintains respect for its audience and its subject. [8 Oct 1993, p.7]

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]

For Love or Money is a featherweight romantic comedy that barely stays afloat, thanks to the effortlessly appealing personality of Michael J. Fox. [1 Oct 1993, p.11]

The Program trudges along like a fat freshman walk-on in a muddy practice field, piling up one collegiate scandal after another without a moral in sight. [24 Sept 1993, p.6B]

Everything is fine and fantastic while the children are allowed to play out their outlaw games with innocent abandon. It's when adults interfere that Into the West limps off into the sunset. [17 Sep 1993, p.8]

With a loving hand and immeasurable skill, Scorsese has fashioned a classic film for any age, innocent or otherwise. [24 Sept 1993, p.8]