Opening with superbly creepy, character-driven suspense filmmaking, Unlawful Entry closes with a succession of shock scenes that look like they were lifted from a slasher film. In between, however, there are enough hard-edged, efficiently mounted thrills and plot twists to keep thrill lovers engrossed. [22 June 1992]

Yuzna appears to be searching for jokes in every scene. The high-key lighting and bright sets also seem geared to comedy. But since he lacks a true comic script, he comes up with mostly dead air. [28 Feb 1992]

While director David Fincher drills out some perfunctory, generic scares -- not counting Weaver's buzzcut -- Alien 3 is amazingly dull and humdrum. [20 May 1992]

Director Carl Franklin has cranked up an unnervingly tight-triggered film. Screenwriters Billy Bob Thornton and Tom Epperson's scenario never relents from the out-of-control nature of the trio's bad acts. [7 May 1992]

Director Bill Duke vents his rage on L.A. with Deep Cover, a graphic and powerful anti-drug drama.

The slapstick is classic-level stuff, the kind of domino-effect precision that is lost in most of today's clumsy farces.

Smartly spreading his story beyond the end lines of the basketball court, writer-director Shelton has knocked down a sparkling, slice-of-life Americana story. As rough and shiny as chain nets on a sweltering summer day, White Men Can't Jump is a poetic, rag-tag triumph.

Despite promising opening sequences and some above-average performances from a trio of young actors, the film's points become more elusive as its technique becomes more blunt. [16 March 1992]

Peter Bogdanovich has cracked the tough nut of "opening up" the Tony Award-winning hit "Noises Off" for the silver screen. Namely, he has essentially filmed the play in a series of long-cut scenes and it works splendidly. Moviegoers will be delighted by this sharply calibrated farce. Buena Vista's challenge will be to lure audiences who don't have a knowledge of this ensemble's Broadway pedigree. [20 March 1992]

In American Me, Edward James Olmos has achieved several important goals, but one outweighs the rest: he has made a film that will scare the hell out of any inner-city youth not already lost to the hopelessness of gangs, drugs and prison. [9 Mar 1992]

My Cousin Vinny is a terrific variation on the fish-out-of-water/man-from-Mars story formula. Starring Joe Pesci as a slicker in the land of grits, My Cousin Vinny should tickle funny bones in every region and ring out a green spring for 20th Century Fox at the box office.

A slick action drama that rehashes most of the cliches of the boxing picture tradition. However, it does so with enough energy and -- particularly when it comes to Tak Fujimoto's cinematography -- style, that the hard-hitting feature should get some profitable rounds in at the boxoffice; no knockouts predicted, however. [2 March 1992]

While the plot is a bit light even to be carried on Wayne and Garth's droopy shoulders, it's splendidly smart, dumb stuff.

Never weighted down with thematic preachings, Mississippi Masala is a captivatingly quirky love story which, through its combustive energy, probably conveys more about cultural assimilation than all the sociological treatises in the Kingdom. [05 Feb 1992]

In the hopes that audiences haven't been spoiled by "Terminator 2: Judgment Day," along comes Freejack, a technically inferior but broadly entertaining futuristic adventure. Though Arnold is nowhere in sight, his spirit looms large. Attempting to fill his vast void are Emilio Estevez and Mick Jagger, an unlikely but likable duo who provide the majority of the film's action...Freejack definitely gives the audience its money's worth. [3 Feb 1992]

The film has a conviction and pulp-adventure integrity that cannot be underestimated. Director Nicholas Meyer keeps his camera hopping and the production has a dark, atmospheric sheen that persistently suggests mystery and danger. Not the best of the series, but a suitable farewell. [6 Dec. 1991]

Disney's 30th animated feature, Beauty and the Beast stands at the pinnacle of animated accomplishment, even when weighted against the excellencies of its lineage.

A distinguished and able cast headed by Jeremy Irons; beautiful, mostly black-and-white cinematography; and the enchanting Prague backgrounds make for a diverting feature-length eyeful and earful, but the reconstruction of the Kafkaesque worldview never quite takes. [3 Dec. 1991]

Mike Leigh has come up with a profound yet simple drama of family life generously leavened with comedy. [14 Oct. 1991]

Kellogg, though he handles the musical numbers in energetic, if unexceptional, music-video style, has trouble with some of the early dialogue scenes, reverting to hyped-up visuals to get through some of them before finally settling down. [21 Oct 1991]

The only factor that keeps the outcome from being a grand success is the film's script. It's hampered by its focus on a pivotal character with so few redeeming graces that the movie never grabs interest, or emotions, as effectively as it should. [20 Sep 1991]

Director Sheldon Lettich, who also worked on the story and screenplay, gives Van Damme plenty of space for his performance, but his direction, like his star, only really comes alive during the action scenes, particularly the climax, set around the freight containers and towering cranes of the Hong Kong waterfront.

A half-sequel, half-remake of the Brooke Shields surprise hit from 1980. Once more, a pair of tanned teens have fun in the sun on the beach, though with less nudity, more discreet sex, and an increase in environmental consciousness. [31 Jul 1991]

Paris Is Burning is a strong film about a segment of our society that is determined to survive. It's not just a film about gays, it's about fighting prejudice and trying to achieve a dream, something we all do now and then. [09 Aug 1991]

Boyz n the Hood is a knockdown assault on the senses, a joltingly sad story told with power, dignity and humor. No mere studio genre piece preening as social significance because its characters are black, Boyz is straight from the neighborhood — Singleton grew up in South Central — and straight from the heart.

In all fairness, this swill's swells are in the action: car chases, foot chases, wipeouts, shootouts, brawls and falls -- and they're terrific. Director Kathryn Bigelow pumps up the action to, indeed, full adrenal dimension. [12 July 1991]

The Rocketeer is low-octane Steven Spielberg — projected in the right happy direction but lacking the gritty accelerant and around-the-edges humor and humanity of other heavy popcorn-load adventures.

Along the way most of what transpires is predictable and manipulative. But besides the formula stuff, there is an abundance of fresh humor, poignant dialogue and some rather credible performances.