Livington's film provides a lively look at an exotic subculture that mimics the values of the white majority with unique wit, irony, and style. [07 May 1991, p.2]

The script may be a fantasy about late-19th-century American poverty, derived more from old movies than fresh observations. But at least Brooks doesn't sweep the subject under the rug, and just enough of his jokes sting. [26 July 1991, p.20]

Archangel, defying every contemporary cinema convention as it does, won't be to everyone's taste. But for those interested in the wilder possibilities of what film can do, it's an absolute must

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]

This is the swiftest, funniest, most lunatic comedy to date from the team that created "Top Secret," "The Naked Gun," "Ruthless People" and "Airplane!" [28 June 1991, p.23]

Despite the miscasting of the central role and quite a lot of lackluster dialogue, the story proves again to be almost foolproof. The fight sequences are explosive, the physical production is impressive, and the supporting performances are full of juice.

If you can take it for what it is, however, City Slickers does deliver the goods, especially during its sprightly first half. [7 June 1991, p.22]

Stephen Herek, who directed Critters and Bill and Ted's Excellent Adventure, nevertheless keeps the story spinning along as if he believed it, and he works well with the actors, especially Cassidy, who plays her dotty career woman with a mixture of brassiness and resilience that's quite engaging; Coogan, a natural young comic who is becoming indispensable in movies like this; and Applegate, who looks very much like a movie star in her major-studio, big-screen debut. [07 June 1991, p.29]

Like Lee's last film, "Mo' Better Blues," this one seems to disintegrate before your eyes. Both movies lack the drive and assurance of his masterpiece, "Do the Right Thing." Yet so much of the first half of Jungle Fever is first-rate that you wish Lee could go back, rewrite and reshoot the rest.

Whether or not you're a fan of De Jong's earlier work, Drop Dead Fred is clearly an extension of it. There's even a touch of Peter Pan and Wendy in the relationship between Mayall and Cates ("He's like my best friend, and yet I'm scared to death of him"), who has a ball with the role.

As it is, Only the Lonely offers a passable evening's entertainment, complete with teary-eyed moments and clever touches of bittersweet comedy. [24 May 1991, p.24]

Truth of Dare, like its star, wears you out as much as it entertains you. Brassy and jittery, it's a relief to escape once it's over. [17 May 1991, p.3]

Stone Cold may be the morally bankrupt nadir of what is so far one of Hollywood's worst years. [17 May 1991, p.3]

Unfortunately, the recycled plot is still the driving force here, and the movie becomes increasingly frantic trying to accommodate it. In the end, Raffill can't bring this dummy to life, but he does try.

Brilliant, biting, bitterly funny epic about a Jewish teenager's stranger-than-fiction adventures during World War II. [28 June 1991, p.22]

Under Petrie's competent direction, the action-genre nuts and bolts are firmly in place. Machine guns are fired and bombs blow up. But the subject of real interest here - how a kid might come to terms with authority even if his boarding school weren't taken over by Colombian terrorists - gets lost in the showdown. [26 Apr 1991, p.24]

A thriller that fails on every level, it doesn't even make you want to find out what happens next. [26 Apr 1991, p.20]

This is disposable cinema for those who have an excess of time on their hands. Save it for video. Then you can do household chores while you wait for its occasional laughs. [26 Apr 1991, p.20]

In Rudolph's own scripts there's usually a foundation of whimsy that somehow balances out his acid-edged commentary on human follies. Here, there's only a standard murder-mystery plot that cheats on its ending and an East Coast locale where funny accents and hairdos are the real victims. [19 Apr 1991, p.25]

It's a spirited, sumptuously crafted tale about two spoiled Americans, Jake (John Malkovich) and Tina (Andie MacDowell), who have pushed their credit cards to the limit and now are going bankrupt in a London luxury hotel. Andie MacDowell almost equals her performance in sex, lies, and videotape. Funnier and looser than she was in Green Card, she's on her way to becoming our subtlest screen comedienne. [26 Apr 1991, p.3]

Then it raids "GoodFellas" and "The Godfather" for most of its material, before winding up as the same old ultraviolent schlock. [13 Apr 1991, p.C5]

While the limitations of the budget occasionally show, the elegantly appropriate photography, quirky performances and Haynes' unique vision carry the day. He is clearly a director to watch. [14 June 1991, p.25]

Anyone who's been starved for Albert Brooks' brand of anxiety-ridden humor will not be completely disappointed. [24 Oct 1991, p.D3]

Schrader's lavish technique and his tight ensemble cast just about make the movie work. Comfort isn't the tour de force that Patty Hearst, his last movie, was - but it has an enticing menace and languor to it. [19 Apr 1991, p.24]

Working with Western funding and Western camera technology for the first time, Yimou also has created the most visually striking of recent Chinese films to reach this country. [15 Mar 1991, p.25]

It manages to combine the least appealing qualities of several previous Hughes productions - the obnoxiousness of the central character in "Ferris Bueller's Day Off," the tedium of the teen-age confessionals in "The Breakfast Club," the gimmicky plotting of "Home Alone." And it has nothing fresh to add in terms of casting, storyline or the kinds of comic insights about suburban life that sustain Hughes' best scripts. [30 March 1991, p.C5]

What began as a feature-length toy commercial instantly disintegrates into MTV fodder. [22 Mar 1991, p.24]

The movie bristles with an insider's knowledge of the film world. It's wry, intelligent, impassioned. [15 Mar 1991, p.22]