Kudos go to the great Thomas Newman, whose score contributes as much as either lead to what is finally a two-character movie, though one well-performed by all. [23 Sept 1994]

Flashily nihilistic Killers is easier to admire than love, but credit Stone for putting it on the line with a yarn tailor-made for his hopped-up vision of media-engendered white-trash immortality. [26 Aug 1994, p.1D]

A plot-twist whodunit that even Forrest Gump might crack, it's also a Hall of Fame howler from long-inactive Richard Rush, whose direction of 1967's Hell's Angels on Wheels now seems comparably placid. [19 Aug 1994, p.10D]

Poor, no-respect ABBA gets tweaked repeatedly in this unexpectedly handsome widescreen import - though, in keeping with the movie's soft tone, the gooning isn't mean-spirited or even all that catty. [10 Aug 1994]

Every once in a while in Airheads, there's a perfect out-there moment that will strike a feedback-warped chord with diehard heavy-metal fans. [5 Aug 1994, p.4D]

Rascals is as painful as a grade-school play without your kid in it. The end-credit outtakes at least indicate Spheeris suffered through it as well. [05 Aug 1994, p.4D]

True-blue Ford keeps 'Clear' out of danger. [3 August 1994, p.D1]

Its interpersonal dynamics are constructed with care to equal chef Lung's elaborate concoctions. [19 Aug 1994]

Carrey's jolly green mug carries Mask. [29 July 1994, p. D1]

The ending is nicely wistful but let's get real. A couple of million doesn't go far these days, at least not at the rate of Perez's shopping sprees. Still, if you're willing to take a chance on romance, buy a ticket to It Could Happen to You. Just don't expect a huge payoff. [29 July 1994, p.7D]

Under the guise of delivering one of the most overworked of messages - adults are dolts, kids rule - North fails such basics as a compelling story, fleshed-out characters and a brisk, bright pace. [22 Jul 1994, p.5D]

With danger in every woods, elevator and hospital corridor, Joel Schumacher's by-rote direction will likely give audiences what they want: slick, superficial escapism with casting punch - ironically, virtues associated with the current flop I Love Trouble. To its credit, The Client moves faster and adds suspense, but ultimately seems as negligible. [20 July 1994, p.1D]

Let others recharge that tired Die Hard formula. Cameron invents a new kind of family therapy that saves your marriage and the world. [15 Jul 1994 Pg. 01.D]

Even so, the film's incest theme seems more symbolic than literal in what is, at heart, a comedy about escaping the womb; throwaway gags are wicked enough throughout to keep the taboo plot twist from knocking this hit-and-miss black comedy off the track. [26 Jul 1994 Pg. 08.D]

Tepidly tolerable to under-8s. [15 July 1994, p.5D]

Doesn't sound like a very prepossessing title, but prepare to be taken aback by "what's in a name." [6 July 1994, Life, p.1D]

Borderline ponderous in hour one, Wyatt Earp picks up once it reaches Dodge, thanks in part to drolly delivered guffaw lines from sunken-cheeked Dennis Quaid, who lost 43 pounds to play tubercular Doc Holliday. [24 Jun 1994, p.1D]

Crisp craftsmanship has fashioned a great day at the movies from the worst day of Ralph Kramden's life. [10 Jun 1994 Pg. 01.D]

Warm, squishy and manipulative, like being slobbered on by a mongrel pup that's begging for more Snausages.[03 Jun 1994]

The latest stab at a gangsta-fied This Is Spinal Rap, is more raggedly low-budget than last year's CB4, but avoids that film's awkward mix of satire and salute. [07 Jun 1994, p.6D]

The transition from Hanna-Barbera animation to manic-barbaric live action falls flatter than a granite slab, from the first of many deadly stone-age wordplays - "Steven Spielrock Presents" - to the gross-out shots of dirty tootsies. [27 May 1994 Pg. 01.D]

Little Buddha is strange in the way that only Bernardo Bertolucci movies can be strange, and the strangest thing about it is the fact that Keanu Reeves isn't the strangest thing about it. [25 May 1994, p.5D]

Despite Mel Gibson wearing dude duds, Jodie Foster picking their inside pockets, and even James Garner for incalculable good will, the poker hand in the all-new Maverick is almost an empty house. [20 May 1994, p.1D]

Both leads and young Harris make Crooklyn an exasperating might-have-been, especially given the movie's surprisingly affecting wrap-up. There's no dearth of human feeling here, but a dearth of craft. [13 May 1994, p.8D]

The tone is consistent, but consistently uneventful. [06 May 1994]

In this second round of so-so kung-foolery, three brothers once again strain credibility and make sushi out of new foes. [06 May 1994, p.5D]

PCU is less a blatant ripoff of Animal House than a fond homage. This '90s update on campus life never reaches that landmark comedy's inspired heights (or depths, as it were) of anarchy. It also could use a waggle or two of John Belushi's bushily subversive eyebrows....But actor Hart Bochner's directing debut - aided by zippy camerawork - still offers a laugh-propelled good time while tweaking political correctness gone amok at Port Chester University (PCU). [29 Apr 1994, p.5D]

But those looking for enlightenment on this boring road trip better bring along a flashlight. The sex change merely allows Erika Eleniak, who won more respect from her critters as Elly May in The Beverly Hillbillies than she does from the male animals here, to doff her duds as often as she tries to escape. Running tampon gags are never a good sign. [26 Apr 1994, p.8D]