Fortress is a 91-minute sentence of bland deja vu for sci-fi watchers.

One can forgive the threadbare script and Edwards' pedestrian direction for those scenes when Benigni shakes, stutters and stumbles through the lovely French scenery. [30 Aug 1993, p.6B]

Woo's film has an exciting look and visceral feel that is unique in Western filmmaking. If nothing else, it should increase video rentals of Woo's foreign films and make a ton of money for those happy capitalists at Universal Pictures.

The triumph of Manhattan Murder Mystery is the return to form of Keaton, whose Annie Hall mannerisms have been smoothed by age, but can still erupt in the face of frustration. Watching her and Allen work together again is a joy; there are times when it seems that this couple is actually Annie and Alvy Singer, all grown up and no place else to go but New York City. Keaton's delightful performance is the re-emergence of a fine actor who was creatively sidetracked too long. [20 Aug 1993, p.8]

Problems aside, The Secret Garden has many qualities that demand respect, especially the performance by Maberly, who captures the spirit of a girl hardened by bad fortune and worse parents. [13 Aug 1993, p.6]

Underwood's film doesn't have a fraction of the insight or genuine comedy of City Slickers and it's a few years too late to be fresh material. Overall, Heart and Souls is an odd title for a movie that has a distinct, depressing lack of both qualities. [13 Aug 1993]

Searching for Bobby Fischer is an arresting anomaly among movies; a sports champion story that isn't maudlin or manipulative, with a child at center stage who isn't a hand puppet mouthing adult ideas in an overly precocious script. Zaillian's film contains characters we care about, plus loads of respect for its family audience. [11 Aug 1993, p.6B]

Even with its faults, The Fugitive is an uncommon joyride among this summer's movies: a thriller that doesn't depend on bombs, bimbos or blue-screen effects to scare a smile onto your face. [6 Aug 1993, p.14]

More touching than daring, The Wedding Banquet is an exquisite comedy, brimming with simple human decency and more belly laughs than any comedy I've seen this year. [15 Oct 1993, p.4]

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]

Mike Myers' first film excursion beyond Wayne's World feels like one of those boring, aimless Saturday Night Live sketches that typically ruin the final 10 minutes of each show. So I Married an Axe Murderer is a mess, from its cliched mistaken-identity premise to one-liners that sound "borrowed" from other comedians or school-yard jive sessions. Above all, this tedious comedy proves that, as a movie star, Myers should never be let out of that basement in Aurora, Ill., that he shares with Dana Carvey. [30 July 1993, p.11]

Perhaps if I hadn't laughed so hard at a recent revival of Blazing Saddles, then Mel Brooks' new film, Robin Hood: Men in Tights, wouldn't be such a dismal disappointment. [28 July 1993, p.6B]

Surprisingly, you won't find a more laugh-filled source of entertainment in theaters in any galaxy right now. [23 July 1993, p.8]

Another Stakeout eventually crumbles under the weight of its own stupidity. Badham and Kouf are compelled to shove the comedy aside for an overly violent shootout finish that leaves as many bodies as unanswered questions about the case. An overblown pyrotechnic sequence that destroys a house from a handful of angles is too familiar to be exciting. [23 July 1993, p.9]

Hocus Pocus is a sweet-spirited romp that could give clean-minded silliness a good name once again. [16 July 1993, p.6]

Unlike Weekend at Bernie's, the sequel asks audiences to accept far too many outrageously unrealistic situations. The plot begs numerous questions, and weakly attempts to provide answers. [17 July 1993, p.7B]

Shore's new "comedy" Son-In-Law proves without question that this MTV maniac is one of the most tedious one-note performers in any branch of show business today. Considering that his brain-addled manner serves as a role model for many teenagers is more offensive than his lack of talent. [2 July 1993, p.9]

That John Hughes; he's a riot. Who else would think of packaging such cool ideas in a popular comic strip script and shoving it down kids' throats? To be fair, Dennis the Menace has a few very funny moments, thanks mainly to Walter Matthau, who is picture-perfect as Mr. Wilson. Mason Gamble has the right cowlicked, wide-eyed look to pass for Hank Ketchem's cartoon creation. And to the movie's credit - considering the mayhem going on here - nobody gets killed. [25 June 1993, p.9]

Director Alphonso Arau directs this adaptation of the Laura Esquivel novel with a light touch, even in the film's most bizarre twists and passionate turns. [07 May 1993, p.8]

Sloan and director Richard Benjamin (My Favorite Year) are content to drift along on the star power of Goldberg and Danson, who are certainly appealing actors, but push every wisecrack and doubletake into bad dinner theater territory. [28 May 1993, p.6B]

It's silly, derivative and too wacky for its own narrative good; traits that the director and Proft wear like a Congressional Medal of Honor. But it's also the funniest 86 minutes I've spent in a movie theater since, well, Hot Shots! Anybody else ready for Part Trois?

It may overwhelm and confuse, until you start tracing the mesmerizing route Ward lays out for his audience. [14 May 1993, p.6]

A comedy that moves as slow and uncertain as a bill through Congress. [07 May 1993, p.8]

Dragon: The Story of Bruce Lee is therefore one of those rarities, a biography as entertaining as it is informative. [7 May 1993, p.6]

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]

Slap together Meatballs and The Big Chill and you're left with Indian Summer, a movie that feels like cold leftovers from countless other feel-good ensemble comedies. [23 Apr 1993, p.9]

Until it lapses into a Rube Goldberg farce with a tacked-on, present-day epilogue, the movie is a wonderful reminder of why we've tried so hard to get major league baseball in Tampa Bay. [7 Apr 1993, p.5B]

Leslie Harris wrote and directed this special jury prize winner at the 1993 Sundance Film Festival, which often slips into Afternoon Special territory with its story of teen pregnancy. What keeps it buoyant and engaging is a remarkable performance by newcomer Ariyan Johnson as Chantel, whose hip, flippant moods mask an ambitious, bright mind. [18 Jun 1993, p.10]