This stupefyingly unfunny attempt to create a midnight cult movie stars Judd Nelson as a talentless stand-up comic who becomes a celebrity when he grows a third arm out of the middle of his back. [26 Mar 1992, p.E2]

Nothing But Trouble is nothing but dismal. [16 Feb 1991, p.C5]

The story has its possibilities, but inauthentic detail and uncertain directorial tone undermine it. [18 Jan 1991, p.23]

Generic abuser, generic victim, generic nice-guy-next-door, all going through highly predictable motions. [08 Feb 1991, p.21]

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]

This isn't a B-movie, a C-movie or even a Z-movie. In fact, there isn't a letter far enough down in the alphabet to cover Popcorn. [01 Feb 1991, p.22]

White Fang is one of the best family films around right now. The violence is not too intense, the harshness of the frontier is downplayed without being ignored, and the wildlife footage is reminiscent of the best Disney documentaries. [18 Jan 1991, p.22]

Performances are lively, the story is incredibly stupid - and if you've seen one fight you've seen them all. Van Damme should market his next film as offbeat comedy - go for the laughs he'd get from the art-house crowd. [11 Jan 1991, p.26]

By film's end, the husband's reasons and rationalizations seem all but incomprehensible. That doesn't, however, prevent this from being a thoroughly engrossing tale. [11 Jan 1991, p.24]

The best that can be said of this campy but witless time-travel thriller is that it's acted with some authority. [12 Jan 1991, p.C7]

Farrow is hilarious when she's aggressively pursuing Mantegna; amusingly dumbstruck when she's fighting off a group of male partygoers (one of the secret potions makes them fall in love with her); and touching when she's trying to reconcile with her sister (Blythe Danner) or sell her lame script ideas to an old friend who works for the networks (Cybill Shepherd). The performance is a triumph of sensitivity to rapid mood swings that stops just short of turning the movie into The Three Faces of Alice. [25 Jan 1991, p.22]

Suspense is the key element in The Long Walk Home. That may seem like a frivolous thing to say about a fictionalized but scrupulously authentic account of the 1955 civil rights bus boycott in Montgomery, Ala. Yet it's what holds this movie together, gives it distinction and makes it considerably more than a TV-movie-style docudrama. That, and the richly imagined performances of Sissy Spacek and Whoopi Goldberg. [15 Feb 1991, p.24]

If you loved Wolfe's book, you may very well hate the movie. If you simply liked the novel, you may be simultaneously entertained and disappointed by what De Palma and Cristofer have done to it. If you don't know the book, you may find the movie mildly enjoyable, while wondering what all the fuss is about. [21 Dec 1990, p.3]

Schepisi may not have found the perfect screen equivalent for John le Carre's world of romance and deception. But his mixed success is certainly a treat for the eye. [21 Dec 1990, p.24]

It's sweet and funny one moment, melodramatic and contrived the next. Blending the moods, and often holding the film together through sheer force of personality, Ryder gives her most affecting performance to date. [14 Dec 1990, p.26]

In the end, The Rookie winds up looking like a poor relation of Lethal Weapon or Tango & Cash. And that's mighty poor. [07 Dec 1990, p.29]

Rappeneau has his weaknesses - the battle sequences lack imagination, and the finale is unnecessarily protracted - but his romantic flourishes keep most of the movie humming. [25 Dec 1990, p.F1]

Reiner's direction and William Goldman's script succeed on their own cartoonish level, and Kathy Bates, who plays the fan as if she were a close relative of Norman Bates, rips into the role with undisguised relish. [30 Nov 1990, p.24]

Eating is American independent film at its best. It's one of those eccentric home-grown efforts - Roger and Me, and Sherman's March are others that come to mind - that spring straight from the American vernacular. [29 Mar 1991, p.3]

The dumbest, goriest bone-cruncher of the season: an unnecessary and Arnold-less sequel to the Schwarzenegger science-fiction hit of three years ago. [21 Nov 1990, p.C3]

Almost nothing works here.

This new animated feature has a more exciting story line than the first film, a stronger score, sharper dialogue and a more noticeable visual flair. [16 Nov 1990, p.28]

Medak and Ridley have taken the stuff of tabloid headlines and alchemized it into cinematic gold. [09 Nov 1990, p.30]

Child's Play 2 is perfunctory, disagreeable and patience-trying. [09 Nov 1990, p.24]

Prince's onstage performances are less fun than they've ever been. He's smitten with the idea of himself as a holier-than-thou rock icon. Day recycles his two jokes from Purple Rain - combing his hair and looking in the mirror - while ogling every chick in sight. This is stale stuff.

It's neither scary nor original. In fact, it's something of a chore to sit through. [27 Oct 1990, p.C3]

With only a few lapses during its opening scenes, it's a modest, intelligent exploration of the differences that can threaten a genuine attraction between two people. It doesn't soft-pedal the problems, particularly for a young man who already is set in his ways, or an older woman who never will fit in with the social and cultural pretensions of his extended family. [19 Oct 1990, p.31]