Surprisingly, though, Army of Darkness is slowest during its extended special effects sequences and best when human low-lifes are groveling in the squalor of the 13th century. [19 Feb 1993, p.8]

An offbeat romance as dysfunctional as its lovers. [17 Feb 1993, p.5B]

Bridges is supremely creepy, while Sutherland is worse than grating, and, while this version doesn't hold up to its Dutch predecessor, it's impossible to deny The Vanishing's power. [05 Feb 1993, p.6]

You don't need to watch National Lampoon's Loaded Weapon I to understand what a sloppy comedy concoction it is; just listen. What you won't hear is laughter, even in a crowded movie theater. I haven't experienced such a silent audience for an alleged comedy since last year's horrid Stop, Or My Mom Will Shoot.

Finally! An American adaptation of a French movie that works.

If you let it, Damage can be an exhilarating and a devastating leap into the realm of erotic obsession. [22 Jan 1993, p.8]

Man Bites Dog is a strange, undeniably powerful hybrid of Henry: Portrait of a Serial Killer and This is Spinal Tap; a jaw-dropper that takes your breath away with its scabrous mayhem, then replaces it with an uneasy chuckle. [5 Nov 1993, p.7]

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]

Director/co-writer Miller and terrific performances make Lorenzo's Oil one of the don't-miss movies of the year. [22 Jan 1993, p.5]

Envisioned as a surrealistic painting come to life, it is a delight to behold, yet it fails miserably as a compelling piece of storytelling. It is a listless, largely vapid tale, even though it has been revised over a dozen years by writer-director Barry Levinson. [18 Dec 1992, p.21]

Although there are enough zany antics and puppet slapstick to keep the younger kids amused, there is little of the charm and intelligent humor that made both grown-ups and children love Muppets in the first place. [11 Dec 1992, p.8]

Some of the more tender moments - Farmer and Marron dancing at a country bar and gently probing each other's secrets - are particularly affecting. Less successful is a sequence purportedly set at the Academy Awards that wreaks of artificiality. The utter fecklessness of the segment is so jarring that it isn't until the climax that The Bodyguard pulls itself together.

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]

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 stylish though formulaic whodunit that swathes old cliches in new wrapping. [6 Nov 1992, p.6]

With its flat acting and titillating format, The Lover is soft-core and mostly a bore. [14 May 1993, p.9]

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.

Director Alan J. Pakula generates a degree of suspense, even though the story's implausibilities and overall stupidity of Kline's and Mastrantonio's characters are stupefying. Everyone in this movie is a prig, including a frail E.K. Marshall as Richard's defense attorney who doesn't believe his client's innocence and Forest Whitaker as a private eye who lets Richard do the investigating. [16 Oct 1992, p.5]

The movie's pageantry and visual grandeur are its most impressive elements, along with Depardieu's command as Columbus. [09 Oct 1992, p.20]

Director Stephen Herek (Bill and Ted's Excellent Adventure) and screenwriter Steve Brill dreamed up these fantasies for their so-called comedy about youth hockey. They could have devoted more attention to writing decent jokes. This childish mix of slap shots and slapstick lumbers along as awkwardly as a skater on a melting ice rink. [02 Oct 1992, p.12]

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

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]

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]

A shocking and outrageous comedy that gets under your skin. Landis doesn't always know the difference between a laugh and a nervous giggle, but you can't just sit there unaffected. [25 Sept 1992, p.10]

School Ties is a completely satisfying entertainment with an authentic sense of period, characterization and compelling drama. If there is any justice in this world, this affecting tale of injustice will find a wide audience to share its magic. [18 Sept 1992, p.8]

Any movie that features a dramatic actor like Kurt Russell playing straight man to a goofball like Martin Short already is sailing on choppy waters. Toss in a script that leaves no cliche unturned and the result is Captain Ron, a seafaring comedy that keeps its creativity in dry dock. [18 Sep 1992, p.8]

While Husbands and Wives is mired in mid-life, Singles is buoyed by the exhilaration of young people experiencing the initial freedom of adulthood. The concerns are similar. But the outlook of each generation couldn't be more different. [18 Sept 1992, p.5]

Yet the sting of truth and insight that Husbands and Wives provides is such a rarity in cinema, even in Allen's movies, that Husbands and Wives emerges a singular achievement, ranking among Allen's best. [18 Sept 1992, p.22]