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.

There are far too many script misfires and built-in flat tires (every time the bodybuilding trio shows up the film dies) to overcome. [19 May 1991]

Under Jonathan Demme's masterful cinematic surgery, we get into Lecter's twisted skull and, through this outrageous descent, we come to see this sinister in the everyday.

It's a breezily cheerful and affectionate send-up of the contradictions of California chic.

While visually lush and inviting, this insular, self-absorbed film is more a violation than a celebration of the lives of two of literatures foremost sensualists, Henry Miller and Anaïs Nin. Little of Miller’s boisterous, anarchic spirit makes its way into this film. Nor is its superficial handling of Nin’s theme of a woman’s self-realization likely to satisfy her admirers.

This second feature by New Zealand's Jane Campion replaces Sweetie's outre style and sense of character with a quieter and seemingly more conventional approach, but without relinquishing the filmmaker's solid grasp of the offbeat, the feminine and the feminist. [12 Jun 1991]

This film debut of the carapaced comic-book heroes features solid animatronic effects and a straightforward approach to superhero adventurism that should appeal to young Ninja Turtle fans, who should be pleased to see the terrapins brought so faithfully to the screen. However, a long-winded plot, broad characterizations and barely adequate fight scenes will prevent Teenage Mutant Ninja Turtles from generating any breakthrough business.

The movie displays an almost preternatural disregard for women's feelings — call it Pygmalion, with a heavy accent on the first syllable — but the comedy is so slickly delivered that audiences may be content with chuckling over its polished surface charms.

The fitful development of the script aside, the movie is dominated entirely by Freeman and Tandy, who manage to retain individual star-quality while acknowledging the other's presence.

Credit first-time director Jeremiah S. Chechik for his sure-handed rein on Christmas Vacation's polar opposites of sentimental and satirical sides. It makes for a smooth-sledding comedy.