Amateur is curiously monotone: a pulp fiction with all the pulp strained out. [13 Apr 1995]

Crumb pulls us in with rich detail, and with what it says, or suggests, about art, drugs, psychology and the subconscious.... Like last year's "Hoop Dreams," this documentary does justice to a great subject. [08 Jun 1995]

It's beautiful to watch, but it doesn't cover very much ground. Sumptuously appointed, meticulously detailed, the film sallies forth - and sags. [06 Apr 1995]

Ms. Stone. She alternates between two expressions here: sullen, and aghast. Then again, if you were listed on the credits as the co-producer of this violently dull piece of shlock, you'd look that way, too. [16 Feb 1995, p.A12]

This clever thriller has the juiced-up, hyperactive feel of a rock video. [07 Mar 1995]

Nobody fares well in this movie about sibling rivalry, doomed love and fringed suede. [05 Jan 1995]

Higher Learning put me in mind of a long lecture by a well-meaning but dull professor. What he has to say may be worthwhile, but it's delivered with plodding predictability. [12 Jan 1995, p.A12]

The oddballs of Mixed Nuts are oddly lackluster -- starting with Mr. Martin, who ambles through the movie with a stunned look on his face. [22 Dec 1994, p.A12]

Ms. Armstrong's Little Women, which has enough sugar to make your teeth sing, if not your heart. [29 Dec 1994]

I didn't mind the preposterousness of the premise nearly so much as the general ineptness with which it's presented. After all, good trash has its place. [8 Dec 1994, p.A16]

With his co-writer, Randy Sue Coburn, and composer Mark Isham, director Alan Rudolph has created a sense of time and place that authentically conveys what it might have been like when writers were celebrities and special effects came from words. [10 Jan 1995, p.A18]

Rough around the edges, it's humor decidedly sophomoric in parts. But that's part of its charm. [19 Jan 1995, p.A16(E)]

The most imaginative movie to come along in ages. [18 Oct 1994, p.A14(W)]

A brilliant mess, I suppose, in the way that seriously disturbed people can sometimes deliver a briefly mesmerizing vision of the universe while babbling. If nothing else, Natural Born Killers is the most in-your-face movie ever released by a major Hollywood studio. [25 Aug 1994, p.A10]

Like the "girls," the movie is flamboyant in almost every respect - the costumes, the humor and the sentimentality. [1 Sep 1994]

These are very small pleasures, indeed, that can be taken as gasps of air in a movie that unwinds for what seems like forever in a complete vacuum. [23 Jun 1994, p.A12]

The director Penny Marshall has a gently persuasive touch that keeps the movie's most brazen manipulations from being too offensive. [02 Jun 1994]

Don't bother to see this film unless you expect to be tested in film class about the Coens' serial dissertation on American cinema. [10 Mar 1994, p.A16]

Despite the numerous predictable jokes about geriatric sex, the movie is very appealing for numerous surprising reasons. Many of them have to do with ice fishing in Minnesota. [9 Dec 1993, p.A14]

They have also stripped out almost all complexity, reducing the drama to a familiar match between good and evil. You've heard all the speeches before; only the nouns have been changed. [23 Dec 1993, p.A9]

A movie that falls outside the ordinary, or even the extraordinary. There is enormous passion and artistic integrity throughout this film. [11 Jan 1994, p.A10(E)]

With its breathtaking visual style and careful attention to sound and movement, the movie provokes contemplation about the ways people communicate – through words, through music, through sex, and, most significantly, through touch. [14 Dec 1993, p.A14(E)]

Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]

A magnificent movie. [19 Oct 1993, p.A18(E)]

The Man Without a Face is nothing if not respectable, and occasionally it is something more than that. [26 Aug 1993, p.A9]

Mad Dog and Glory also seems like two movies at once, only in this case the split comes off like a case of Siamese twins. Actually, it's girls on one side and boys on the other, and the boys get all the breaks. [4 Mar 1993, p.A12]

Mr. Carter's intelligent, straight-forward style and the good performances of the young actors prohibit hooting at the story's completely American approach to a German story. [11 Mar 1993]

The filmmakers aren't out to make a crisp action fantasy like the vigilante movies of the 1970s. Their disaffected man has no specific enemy or at least not one that he acknowledges; modern life is his enemy. This realization hits him one day and he begins to act on it, spontaneously. He's an existential vigilante. [25 Feb 1993, p.A12]