There isn't much depth to The Fugitive, but you'll never know it (or care). In addition to a spectacular train/bus smashup and an exciting sewer chase, there's one of the funniest public confrontations since Cary Grant broke up the art auction in North by Northwest. Result: Warner Bros. has what it had last August with Unforgiven - a commercial movie with real class. [6 Aug 1993, p.1D]

Like many frugally financed movies, director Ang Lee's charmer depends on characterizations, not flamboyant technique. [19 Aug 1993, p.4D]

Snipes seems lost. A key player in the novel by virtue of his first-person narration, Snipes' character - now third-person - is all but a non-person. Mostly, he reacts Watson-style to Connery's Sherlock Holmes musings; an attempt to incorporate Snipes' street buddies into a car chase is the film's weakest scene. [30 July 1993, p.1D]

This is a comedy far funnier in its throwaway asides and extraneous bits. [30 July 1993, p.5D]

Instead of the inspired Brooks of Young Frankenstein, we get the middling Brooks of Spaceballs, in which you can see nearly every joke hovering like the Goodyear blimp. [28 July 1993, p.8D]

John Singleton's bizarre but viewable Boyz N the Hood follow-up is surprisingly gooey going. [23 Jul 1993]

What once was spontaneous and clever now has the stench (in Conehead-speak) of rotten chicken embryos. [23 July 1993, p.5D]

This too-belated reprise from the same filmmaking duo isn't any model, but it ought to amuse fans of the original. [23 July 1993, p.5D]

The film does what it can to dramatize the bond, but Richter has a disproportionate acting load because his co-star's emoting is below the water line. Happily, he carries it. [16 Jul 1993 Pg. 08.D]

One should approach Hocus Pocus as if it were one of those households that plunk toothbrushes instead of Snickers into your goody bag. Skip it.

In the tautly terrific thriller In the Line of Fire , Clint Eastwood toys with his own grizzled-vet screen image like a frisky kitten with a yarn ball. [09 Jul 1993 Pg. 01.D]

After gagging on this second helping, all we can say is, Bernie, rest in peace already. [12 July 1993, p.4D]

Well, maybe some of the performances are more serviceable than all-out spirited, but this is certainly not true of the two crucial ones. As soldier Benedick and his spat-match Beatrice, director Branagh and Oscar-winner Thompson (sporting an attractive tan) are all anyone could wish for. If the classiest married couple in movies today can't make the Bard multiplex-accessible, it'll be time for Tom and Roseanne to suit up for Macbeth. [7 May 1993, p.4D]

Yet the film's most serious flaw (next to a newly concocted fizz-out ending) is that it's not sinister enough. [30 Jun 1993 Pg. 01.D]

Yet, when it all clicks, Ephron is able to make the familiar sparkle anew. [25 Jun 1993 Pg. 01.D]

Oscar-nominated Angela Bassett suffers and flaunts the dresses in this smashingly performed Tina Turner bio - a rock-feminist manifesto that also earned Laurence Fishburne a nomination for humanizing Ike Turner, the Svengali-husband and Menace II Tina with a wandering Ikette eye. Brian Gibson, who directed HBO's as-good The Josephine Baker Story, rarely exceeds the parameters of a competent TV movie; numbers get truncated, and there's minimal period detail over a 1958-83 time span. Yet in a movie inevitably made or broken by its leads, the nominations were justified. [25 Mar 1994, p.3D]

Don't blame an aptly chosen cast headed by cute newcomer Mason Gamble, but this film isn't for viewers old enough to fantasize about chaining Barney the dinosaur to a freeway U-Haul. Its mental-age cutoff point is maybe Pampers-plus-5; grown-ups are cautioned to bring along alternate entertainment - even a Walkman tape of old Dennis Day ballads. [25 June 1993, p.2D]

This movie-within-a-movie action-comedy spoof is a too long, too loud tease as it toys with the Schwarzen-dude's well-toned cinematic image. [18 Jun 1993, p.1D]

Spielberg's must-see is so wondrous at depicting things that go crunch in the night that its human characterizations and pokey exposition seem astonishingly halfhearted… On a "people" level, Park isn't “Jaws,” but on a jolt level - oh, yes, it is. [11 June 1993, Life, p.1D]

After a tense, terrific, stomach-turning opening that may have moviegoing acrophobes recalling Vertigo, the film soon becomes the latest screen variation on cat-and-Mighty Mouse. [28May1993 Pg.04.D]

A delightfully robust fable about two passions that matter (sex and food). [17 May 1993, p.4D]

All the Drano in the world couldn't fix what's clogging the works in Super Mario Bros. [1 June 1993, p.6D]

An unusually knowing movie from filmmakers of any age, both in its coldly clinical viewpoint and assured filmmaking style that even puts fresh spin on a routine police interrogation. [26 May 1993, Life, p.8D]

Stone is competent, if not commanding; as neighbor lovers, she and Baldwin have less chemistry than the Taster's Choice coffee couple. [21 May 1993, p.1D]

While Van Peebles' ambitions are epic-size, his results, sad to say, are less so. This is one messy Western omelet - highly edible but overscrambled. [14 May 1993, p.3D]

The whole cast is terrific - especially Kline, who manages to be both flippant and earnest. And except for some slow going near the end, Reitman keeps it bright and light. [07 May 1993, p.1D]

Fast and slick, it recalls The Buddy Holly Story - perhaps the last pop bio that was this much fun to watch. [7 May 1993, p.4D]

A light, sweet romantic comedy and a Manhattan-without-fear setting make Night a charmer, especially for young couples falling in love. But just as falling in love demands a willing suspension of disbelief, so does this tale of revolving roommates. [3 May 1993, p.8D]