A civilized summer entertainment that never quite transcends its genre. [7 Aug 1992, p.24]

The light approach almost derails the movie; without being cheap or misleading, Mistress is a feel-good movie that could've had a sharper sting. It's less satirical and probably more realistic than The Player, but it's also more predictably diagrammed. [28 Aug 1992, p.26]

Drawing generously and honestly from her own experience as a single mother of two teenage girls, director Allison Anders, making her solo feature debut, has lovingly adapted Richard Peck's paperback novel "Don't Look and It Won't Hurt," crafting a delicate meditation on loves lost and found in the barren but magical truck-stop town of Laramie, N.M. [28 Aug 1992, p.24]

Warmer and more forgiving than Bergman's own work, it is one of the most moving films ever made about the exacting, full-time job of living with another person.[31 Jul 1992, p.17]

This small-focus film proves that Alec Baldwin can be convincing as a sensitive New Age kinda guy instead of the gloating scumbags he often portrays. And it suggests Hollywood can occasionally adapt a hit play to celluloid without contorting it beyond recognition. [10 Jul 1992, p.20]

Is there an audience left that really wants to see these games played one more time? Kaplan doesn't have his heart in these scenes. They lack the playful ambiguity of the movie's early episodes, which indicate that Pete might have reasons for his defensive brutality, that the wife just might be encouraging Pete's infatuation, and that her husband might be less heroic than he pretends to be. [26 June 1992, p.20]

Luckily, the dull spots don't last long. The comedic snowball that is Housesitter melts a bit as it rolls, but occasionally it smacks the bull's-eye. [12 June 1992, p.24]

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]

Every once in a while a simple, formulaic plot is elevated by a good cast and energetic direction, and Sister Act is an irresistibly entertaining case in point. [29 May 1992, p.18]

I was hoping to miss the preview of Encino Man by scheduling some other, more entertaining diversion like, say, a few hours of unnecessary oral surgery. No such luck...There is a special annex of hell for movies like this, where sinners and simpletons are sent to atone for watching too much MTV. [22 May 1992, p.22]

Zentropa seems like the work of a precocious child who's been given too many expensive toys. [10 Jul 1992, p.24]

This colossus may be mechanized, but it's gloriously efficient. The stakes get higher with each installment, and Donner knows how to corral the show-stopping mayhem into a polished, antiseptically entertaining package. [15 May 1992, p.3]

Franklin's special gift is in illuminating the contact point between ordinary human folly and heinous crime.

Much of the time, for all the leering effort she puts into portraying this demonic tease, Barrymore just seems to be playing dress-up. She also needs a more responsive co-star than Gilbert, who gives a one-note performance in the part that should be at the story's center. [29 May 1992, p.18]

Sloppy writing, inconsistent tone and gaping plotholes make this film look more like instant video product. [1 May 1992, p.34]

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

The jokes are labored and rarely clever, the narration is self-consciously cute and the pace, under director Charles Martin Smith, is that of the snail. "Boris and Natasha" should have been as fast, funny and clever as "SCTV" once was. Instead, "Boris and Natasha" looks more like a Saturday morning kiddie cartoon than a comedy show for grown-ups. [16 Apr 1992, p.E6]

The co-writer and producer, Henry Bean (Internal Affairs), and the director, Bill Duke (A Rage in Harlem), punch up the story with plenty of action, some of it gratuitous and illogical. But for the most part they stick close to Fishburne's character and his increasingly difficult choices. [15 Apr 1992, p.D6]

There's an anger and rawness here that fit hand-in-glove with Bruce Springsteen's "Badlands," which serves as the opening song. [3 Apr 1992, p.28]

At its best, White Men Can't Jump gives two talented actresses a chance to shine. At worst, it's just somewhat less coherent and compelling than Shelton's previous work. [27 Mar 1992, p.19]

Avildsen does a good job with all of these actors, and his re-creation of 1930s/1940s South Africa on sets in Zimbabwe and Botswana is convincing; his handling of squalor in the townships is particularly detailed and vivid. It's the best work he's done since winning the Oscar for the first "Rocky." But because of the script's shortcomings the result is only half of a good movie. [27 March 1992, p.22]

The cast of "Ladybugs" is good-natured enough, but Dangerfield is reduced to reading lame one-liners about "drag races" as his future stepson hops in and out of a dress. Brandis is never allowed to have much fun with the complications that result from pretending to be a girl, and his best friend (Vinessa Shaw) barely seems to notice when he reveals that he's been deceiving her. What should have been a wild door-slamming farce never really gets started. already are turning from brown. [28 March 1992, p.C5]

Two fresh performances slip through the cliches of this hockey-player-meets-figure-skater romantic comedy. But for some viewers, that may not be enough. [27 March 1992, p.24]

If you've ever been in a play, you may have a good time at Noises Off anyway. And what stage cast could top this one? Caine has rarely had a chance to display his versatility so entertainingly, Ritter always seems to blossom under Bogdanovich's direction, Elliott finds a surprising variety in his one-note part, while Hagerty makes the most of her oddly appealing brand of hysteria. [21 March 1992, p.C5]

Here's a small, well-crafted screen tale, offered with little fanfare. It has a classic B-movie appeal. Nothing flashy - but what's there is gripping and solid. [6 March 1992, p.19]

There's an engaging Saturday afternoon feeling to the whole enterprise. And you can tell the screenwriters (there were several of them as the picture labored in Development Hell) had fun thinking up various cool-looking visual gags, like the sight of the laboratory building perforated with random invisible sectors. [28 Feb 1992, p.22]

The darker the character gets, the more convincing this performance becomes. Mellencamp never shies away from Bud's rotten side, nor, as a director, does he allow the other actors to glamourize their roles. [03 Jul 1992, p.26]

McTiernan may have no peers when it comes to action thrillers. But in this character-propelled story, he sorely needs a lighter touch. [07 Feb 1992, p.24]