It is a singularly irritating semi-comedy, colorfully wrapped but with batteries definitely not included. [18 Dec 1992, p.28]

Judgment Night is almost completely lacking in conviction and originality. But Leary does a fair Dennis Hopper imitation, Gooding does his best with an insulting role, and the ending is witty enough not to give us the undying villain it leads us to expect. [15 Oct 1993, p.D27]

Seagal's "best" movie to date, handled with slick blandness by director Andrew Davis (reteaming with Seagal after the star's 1988 debut in "Above the Law). It's depraved and bloodthirsty stuff, which of course means that audiences will flock to this junk (to borrow a line from bone-snappin' Steve) like puppets in some sick play. [09 Oct 1992, p.22]

The picture has an undeniable rough stylishness...but in terms of coherence of storytelling it leaves the audience choking on all that swirling dust.

Unfortunately, Shapiro borrows from too many movies (his climax vaguely recalls "Stranger on a Train") to let his story's potential shine through, and so "The Crush" remains an exercise in diminishing returns. [3 Apr 1993, p.C5]

The problem with Miles Ahead isn’t the playful, broad license it takes with Davis’ story, but that it’s so silly.

There’s gunplay aplenty here, but nothing about “The Kid” sets it apart from the many Billy the Kid movies that have preceded it.

Class Act doesn't even try to live up to its title, so if your taste in movies runs to the juvenile, you've come to the right place. [05 Jun 1992, p.28]

The picture’s time shifts are smoothly handled by Kwak. But eventually confusion sets in.

The romance falls dismally flat - Hannah and Moore often appear in the same frame, but there's nothing going on between them. [12 Apr 1990, p.F6]

That Unforgettable is watchable, at least before it disintegrates into generic violence near the end, is due to the touches of wit in the directing, and to the two lead performances.

Maudlin, schematic and surely scientifically unsound, Regarding Henry is a by-the-book tearjerker that has only one thing going for it: Ford's performance. But that's not enough to make up for Jeffrey Abrams' colorless script and Mike Nichols' uninspired direction. [10 July 1991, p.E7]

For most of its length, Stillwater goes along as a meticulous examination of its central characters. And then suddenly near the end it jumps the tracks.

We can’t travel these days, so it’s fun to wallow in the scenery and its vivid colors. Want a great movie? Go watch the original Rebecca instead, but you probably knew that already.

The chase, chase, chase pace is tiring, not least because it’s not clear who many of these people are and what agendas they’re following. Mixed-up confusion is the result.

The performances are more interesting than the convoluted plot. [24 Apr 1992, p.26]

The gunplay is primary though there are some obligatory scenes of martial arts fights.

This may be the easiest installment in the series for parents to sit through.

It carries the stale odor of something that was stuck in a drawer long ago and could easily have gathered more dust. Worst of all, there's something inauthentic and phony about the way Gale and Zemeckis crank out racial taunts and four-letter-word dialogue. The result is a movie that isn't just a throwaway but borderline offensive. [26 Dec 1992, p.C7]

The dour environment doesn’t help, the humor doesn’t pop and, disappointingly, the scares just don’t land. There are a few jumps and bumps, but there’s no real sense of dread or unease or questioning.

In between all of these delights is an awful lot of filler

Even if you're judging by quantity, not quality, Fatal Instinct is merely comatose on arrival. [29 Oct 1993, p.D31]

Woodley and Claflin make an attractive pair, but they’re not particularly convincing playing people deeply, deeply in love. There’s something lacking in the conviction department there.

Smith, on the other hand, throws himself avidly into his work, communicating a, uh, biting malevolence and sick glee in his portrayal. The picture only truly comes alive when he’s masticating his scenes. Otherwise, “Morbius” is dead at its center.

There’s exactly one good jump-scare, which probably would have caused me to drop my popcorn if I hadn’t finished it already; otherwise it’s fairly uninspired. But something about Quaid’s delivery had me giggling throughout — or, at least, until things got rather too dark in the final minutes.

Story II does feature some of the creatures from the first film (the luckdragon, the rockbiter), and Miller almost pulls off the finale, which suggests the emotional impact of the original film. But there's a lot of dawdling on the way.[09 Feb 1991, p.C10]

Beatty directed and wrote the script, but from a man who made the weighty epic “Reds” and the corrosively funny “Bulworth,” Rules Don’t Apply feels curiously weightless and as forgettable as its title.

If it weren't for a delicious performance by Max Von Sydow as the suavely genteel Satan incarnate, Needful Things would be merely another Stephen King novel turned into trash for indiscriminate moviegoers. [27 Aug 1993, p.D12]