As the movie progresses, it becomes less interesting. There are some striking performances from the supporting cast, particularly Steven Berkoff's rabid portrayal of a rival gang lord. The rest of the film, in fact, could have benefited from a little of his mad-dog ferocity. As heroes, the Krays are more shadow than substance; they're stuck in metaphor.

Not much really happens here, and if you're looking for motivation or reasonable plot evolution or anything more than a night that feels like sitting in the stands at a really rowdy Redskins game, don't hail this cab...It's upbeat, bumper to bumper: squeals on wheels. [16 Dec 1983, p.23]

A one-joke comedy written and directed by an older, gentler John Waters, the film gets an enormous boost from Kathleen Turner's puckish portrayal of Beverly Sutphin.

Despite the flailing around, the picture fitfully accumulates a handful of modest highlights and silly brainstorms. [03 Feb 1984, p.E6]

There's no question that the bigotry and shallowness exist out there in the American night, but there's no proportion in Stone's presentation. Stone strains too hard to make his points and in the process distorts them, undermines them. Still, Stone would probably be proud that he's made a picture that audiences may want to ward off and escape from. In that sense, he seems to see himself as being just like Champlain -- a teller of stern and disquieting truths.

Smokey and the Bandit meets the Bad News Bears. [16 July 1982, p.11]

The Wanderers is a well-made movie that leaves a so-what impression. [27 July 1979, p.B1]

It's the usual dumb stuff -- he strives, he fails, he falls in love, he strives some more, he wins. You need strong hands and a heavy set of nutcrackers to break this tedious shell, but inside there are some surprisingly sharp insights into male teen-age psychology and a marvelous performance by Matthew Modine.

As comfortable as an old pair of saddle shoes, and just as worn...But for the persistent nostalgia buff, there are rewards -- five cents on a cash register, a dollar's worth of gas, car hops, submarine races, Howdy Doody, mirror dice, stacks of 45s -- all the froth that's left at the end of the ice cream soda. [8 Feb 1985, p.24]

A light inoffensive satire that brings God back to earth as crusty, caring George Burns to tell mankind to stop mucking up the river-fouling the air, killing each other off, preaching exclusive paths to heaven and to get back to the business of loving. [14 Oct 1977, p.11]

What lends the movie authenticity is that most of the people in it really are Olympic athletes and record-holders, and they show that they know what they're doing. The second lead, Patrice Donnelly, is a former Olympic hurdler.

Runaway Train isn't just bad -- it's bodaciously bad, grotesquely overblown, lurid in its emotion, big ideas on its brain. And anyone with a taste for camp will have a glorious good time. [20 Jan 1986, p.C4]

Rolling Thunder certainly has enough to recommend it to Walking Tall fans with strong stomachs. But moviegoers yearning for a sensitive attempt to graft the nation's most recent scar tissue onto the screen will have to wait. [04 Nov 1977, p.11]

It's an amusing vehicle for Pryor and Candy, amiable partners wallowing in monetary ecstasy. [24 May 1985, p.25]

The Return is a pleasant if superfluous invasion of your local theaters. Everyone in front of the Cocoon Uno camera is back, including Don Ameche, Wilford Brimley, Brian Dennehy, Hume Cronyn, Jessica Tandy, Steve Guttenberg and nine others. It's nice to see the old codgers still alive, kicking and making whoopee. But don't look for more than extra-terrestrial homecoming.

The oddity of this romance and its picturesque setting do a great deal to lend interest to an otherwise minimal (for a spy picture) story. [24 July 1981, p.19]

The infuriatingly slow pace proves a point, but it makes for a gritty-eyed viewer with mashed potatoes for brains...It's a relief to escape the theater after this one, though it's good for several hours of discussion over dinner. It's not entertaining, but it does fall into the should-see category. Pop a couple of Stress-Tabs before you go. [2 Oct 1981, p.17]

The pace of the film is also on a low level, with episodic sequences rather than ones that build: more suitable to a television series than a feature film. But the accompanying low-keyed acting, mostly in the police parts of Newman, Ken Wahl and Edward Asner, lends the film a sustaining interest. [13 Feb 1981, p.17]

Such a vehicle is not expected to be completely sound dramatically; and like the couple's truck, it's good enough for a short excursion.

The problem is, Europa is episodic rather than cumulative. Europa is about the highlights in Solly's wartime life. But it's not about Solly.

It's a sweet-natured family drama in which years of effort are rewarded by a brief moment of glory. Its corny, cartoonish finale makes "Rocky" look like "Bullwinkle." Still, you'll have to forgive the lump in your throat and the tear in your eye.

Africa might have been another Gone With the Wind, blown by passion and buffeted by social upheaval. But in the end it's like a trip to a game park called Extinction. [20 Dec 1985, p.C1]

Like their previous movies, it emerges as an interesting disappointment, reflecting a cultivated and audacious taste in material inhibited by a stuffy approach to filmmaking. The advantage of their intelligent, literate, methodical style is that it may accommodate novel themes and impressive performances. [28 Jan 1982, p.C11]

In making the transition from small page to big screen, Tank Girl gains very little and gives up nothing. Working from a generally faithful script by Teri Sarafian, director Rachel Talalay opts for an approach that emphasizes surface and flash at the expense of depth and coherence -- much like its source. The result is a bracing film that's halfway between a string of MTV videos (Courtney Love put together the edgy soundtrack) and some of that network's over-the-top cartoons. [31 March 1995, p.D07]

So the laughs don't build -- you watch Club Paradise moment by moment, and it's only as good as its dialogue. [11 July 1986, p.D1]

There is plenty of dumb stuff in Wise Guys, a rambunctious comedy about two screwballs on the loose, probably more than anyone should stand for. But the doughty will stick around for its small pleasures, most of which spring from the lens of Brian De Palma. [10 May 1986, p.C4]

To present a simple progression from crime to trial to death, when a moral dilemma was promised, is a dramatic crime. [01 May 1981, p.19]

The road to stand-up Oz is littered with conventional, sentimental banana peel; writer/director David Seltzer avoids much, but not all, of it. His biggest slip-up is creating an unlikely relationship between Hanks and Field. Gold is a young, starving, responsibility-evading, med-school dropout who has psychic energy only for great comedy. As frumpy, mousey, older, married mother Lilah -- who thinks she just might be able to do that comedy thing -- Fields couldn't be more of a mismatch.