Fred is DOA, but he and the Diceman will kick up a storm at December's 10- worst time. [24 May 1991, p.7D]

Only the Lonely comes close enough to being halfway watchable that some may call it a Candy triumph. [24 May 1991, p.7D]

Deftly directed by 26-year-old Alek Keshishian, who was granted near-total access by the attention-craving star, the film is somewhat bloated at two hours, but still the freshest rockumentary since Don't Look Back, D.A. Pennebaker's brilliant Bob Dylan study. [10 May 1991, p.2D]

A sentimental comedy about mental illness (complete with a sitcom family), wobbly Bob offers further evidence that Disney itself may be afflicted with encroaching schizophrenia. [17 May 1991]

Except for a nifty climactic biker attack on the Mississippi statehouse, you've seen the rest. You won't however, see Boz on screen for long. A Stone face, yes - but not a great one. [21 May 1991, p.4D]

Mannequin Two desperately wants to be magical. But the spell it casts is one of idiocy. [21 May 1991, p.4D]

The cheesy production values won't grab anyone. When Bryan-Brian aren't schmoozing, there's not much to look at. It's anyone's guess whether this sequel will be as big a hit on tape. But it'll end up on the shelf soon enough. [10 May 1991, p.2D]

Ellen Barkin is an itchy-twitchy stitch in Switch. As a murdered Casanova who comes back to life as a blond bombshell, she's a physical-comedy sensation on par with Steve Martin in All of Me. But that's only 15 minutes of laugh-worthy material. The rest of Switch is a big turnoff. [10 May 1991, p.2D]

At its worst, Toy Soldiers is just an action variation on the old Rooney- Garland musicals - you know, let's-get-a-buncha-kids-together-and-put-on-a-counterinsurgency. At its best, it's surprisingly bearable for a movie so easily typed. [26 Apr 1991, p.4D]

There's no buildup (hence, no suspense) and no combustion between the leads. Dillon and Young are both better than their reps, and Dearden orchestrated the sizzle between Michael Douglas and Glenn Close in Fatal Attraction. Something must have gone terribly awry here. [26 Apr 1991, p.4D]

Oscar is a marathon of running gags, but few cross the finish line. [26 Apr 1991, p.4D]

Mortal Thoughts is a mystery that any halfway-OK hack might turn into a halfway-OK movie by bagging all pretense to art and simply telling a story. But that isn't the style of Alan Rudolph, whose last space shot was Love at Large; the result is a quirky boo-boo I suspect is already halfway out of theaters. [19 Apr 1991, p.2D]

Unwed John Malkovich and Andie MacDowell are living on what amounts to room-service charity in a posh London hotel, waiting for his cocoa crop investment to bankroll their spiralling bill. Neither lead plays a very bearable character, and the pathetic maid (destitute and hearing-impaired) is too obviously conceived as their counterpoint. It's good to see MacDowell loosening up (a little) after her alarmingly stilted dialogue delivery in deadly, dreadful Green Card. But that's all. Sleeping Beauty never awakens from its monotonal slumber. [12 Apr 1991, p.2D]

For all its faults, Justice is never boring. But it's such a battering experience, you may find yourself checking your own body for bruises before leaving the theater. [16 Apr 1991, p.6D]

Poison is better visually than verbally, though some dialogue in Episode 1 (a missing-kid parody called Hero) got hearty laughs from paying customers in my theater. What 'makes' this exercise, as far as it goes, is polished editing. [12 Apr 1991, p.2D]

Given its complete lack of suspense, eroticism, ensemble acting, and other mere tangibles, Paul Schrader's The Comfort of Strangers (with a Harold Pinter script) is destined to wind up lacking even a modest theatrical run. [29 Mar 1991, p.5D]

And as nice as it is to see dishy Jennifer Connelly roller-skate down the store's aisles, the scene is just one more instance of obvious padding to push the running time to (just) past 80 minutes. [2 Apr 1991, p.6D]

Parents may be pleased, children will cheer. But it's too bad the movie turtles have had to sacrifice their snap, victims of a box-office shell game. [22 Mar 1991, p.4D]

There is cinematic art, and there's a good evening out; this is the latter. [15 Mar 1991]

Robert De Niro is so good as a politically blacklisted filmmaker in Guilty by Suspicion that even his hair seems right. [15 Mar 1991, p.4D]

This guy defines loner. He's on the outs with his father and kid brother, and the Koreans treat him like he's the Vanilla Ice of karate. Generation gap. Cultural gap. Logic gap. Weapon has more gaps than a cut-rate set of dentures. [19 Mar 1991, p.8D]

There's the germ of a sexy idea in True Colors, which serves up a duplicitous friendship, Capitol Hill intrigue and even attractive scenery (indoors and out). Too bad some folks have disinfected it. [15 Mar 1991, p.4D]

Disappointing. [6 Mar 1991, Life, p.9D]

City loses some bearings in its second half, becoming a ragged collection of punchy action scenes. Big deal. It's also one of the most enjoyably ragged examples of fuzz vs. scuz since 1972's Across 110th Street. [8 Mar 1991, p.2D]

Kilmer seems less dangerous than Morrison, but it's a blessing in the most uncompromising bio of a please- don't-move-next-door type since "Raging Bull." [01 Mar 1991]

What Aykroyd concocts here is about as appetizing as that fish shake he made on Saturday Night Live. Meet Hollywood's first Bass-o-matic filmmaker. [18 Feb 1991, p.2D]

A movie with this kind of haunting power comes along only once every decade or so. [20 February 1991, Life, p.11D]

Victoria Tennant's iciness has been well-utilized on screen occasionally, but not this time. [8 Feb 1991, p.D4]