Switch is a movie in search of an ending, much like Edwards' other lesser comedies. It covers an incredible amount of ground without getting anywhere. [10 May 1991, p.6]

Toy Soldiers is a lame-brained action-adventure casting a quintet of Tiger Beat heartthrobs as prep school pranksters battling Colombian narco-terrorists who overrun their alma mater. [26 Apr 1991, p.12]

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]

It's not that the man who brought us Rocky Balboa doesn't fit into a funny movie, it's just that as the lead of rollicking Oscar, he's cast beyond his capabilities. [26 Apr 1991, p.6]

Mortal Thoughts is limited both by its scope and its structure, a relentlessly long Q&A session that relates what happened through a series of flashbacks. It grows tedious at first, then becomes frustrating as the women bungle their alibis and the truth is revealed. [19 Apr 1991, p.6]

It defies convention. It breaks taboos. It isn't a pleasant experience, but it is challenging. [21 June 1991, p.7]

The young Tianbai, Zheng Jian, is as demonic as a flesh-and-blood Michael Myers. Yet Ju Dou is grounded in the stark reality of turn-of-the-century China, where Confucian law has governed life for generations and where adultery is punishable by ostracism or death. [19 Jul 1991, p.7]

Rather than embellish the original movie, the filmmakers have merely strived to re-create it. [22 Mar 1991, p.6]

Cool yet engrossing story of Merrill's fall from grace for refusing to cooperate with HUAC. [15 Mar 1991, p.7]

Finally though, it is Van Peebles who runs New Jack City aground. The film ends up being slightly long, both in terms of time and self-righteousness. Van Peebles is to be commended for making such a hip morality lesson, but New Jack City's finale, which is predictable and trite, could have been handled more creatively by a more daring director. [12 Mar 1991, p.1D]

Audiences get what they pay for: suspense, chills and a bloody resolution as Sleeping with the Enemy charts its predictable course with Martin tracking Laura to small-town Iowa where she's being courted by a patient, polite, fuzzy-bearded drama teacher named Ben. But the picture doesn't delve deeply enough into the problem of spouse abuse. [08 Feb 1991, p.7]

It's a simple and obvious story, to be sure, but it's moving. Jed, the dog who plays White Fang, has agate eyes and a face as expressive as a human's. He is beautiful to watch and very well-trained. [21 Jan 1991, p.3D]

Van Damme, who co-wrote the script, set out to make a punch-packed, entertaining action film, and succeeded. [18 Jan 1991, p.10]

Not Without My Daughter is so patriotic that it plays like propaganda from the U.S. Defense Department. [11 Jan 1991, p.7]

These are the rules: When watching The Bonfire of the Vanities, you don't think of Tom Wolfe. You think of Dr. Strangelove. Only then will you embrace what little there is to like in this sprawling, seemingly racist, absurdist-revisionist twist on The Bonfire of the Vanities. [21 Dec 1990, p.20]

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

This tender tale of two sisters coping with their free-spirited mother in innocent 1963 is just too cute. It needs some chinks in its gossamer-glazed armor. [14 Dec 1990, p.12]

The Rookie is the most brain dead action-thriller Eastwood has ever directed or starred in. It plays well as a comedy, but that isn't its intent. [07 Dec 1990, p.6]

Leave your taste in the car and check your mind at the door. If nothing else, Predator 2 delivers one thing: buckets of blood, which is probably why a lot of people will see it. [23 Nov 1990, p.6]

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]

While the first half of The Rescuers Down Under is breathtakingly magnificent, the second half is slower than a sloth. [16 Nov 1990, p.7]

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]

Utterly satisfying as a musical work (and despite a climax lifted straight out of an old Star Trek episode), Graffiti Bridge doesn't do much for Prince's screen ambitions. [03 Nov 1990, p.1D]

Don't waste time by drawing comparisons between Romero's black-and-white original and Savini's spoofy vision. Romero's work, shocking at the time mostly because of its extreme gore and bleak finale, seems dated and narrow when viewed now. Savini's Night of the Living Dead, with its phosphorescent colors and loopy, frenetic pacing, is vastly more entertaining. [19 Oct 1990, p.12]

Avalon is a crowning effort by Levinson. He could stop making movies today and be satisfied with his Baltimore trilogy. [19 Oct 1990, p.6]

If the saccharine quality of movies could be translated into seismic activity, Welcome Home, Roxy Carmichael would level Los Angeles. [12 Oct 1990, p.13]

Memphis Belle is the most superficial, jingoistic, stereotyped World War II movie in years. [12 Oct 1990, p.6]

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]