Barry Johnson

It's an impressive achievement, both as storytelling and as filmmaking. But then, that's what we've become accustomed to from this director. [26 Jun 1992, p.09]

The tip-off that something different is afoot in Alien 3 comes right at the beginning. [22 May 1992, p.AE15]

Its ambiguity allows us the chance to provide our own satirical edge to the film.

A sense of claustrophobia emerges, increases and colonizes the film.

A quite competent and energetic effort that uses live actors. [10 Apr 1992]

As usual, the genius is in the storytelling details that Gray musters and manipulates, the side trips and observations, the depth of his personal observations. His near hysteria is funny in itself, though when he tries for a one-liner, it almost inevitably falls flat. But that's not a problem: It's just Spalding.

The narrative can be difficult to follow. But not to worry. The images, the language and the characters can pull you along. [19 June 1992, p.AE22]

Although the Hollywood treatment intrudes at times, it's still a compelling film, richly filmed and deeply moving. [23 Dec 1994, p.12]

The mix of psychic thriller and childhood memory movies is smooth, maybe too smooth. Neither becomes truly gripping, despite fine acting by Hopkins, Yelchin and Boorem.

Timecop speeds along briskly: It's a well-oiled, smooth-running action movie with a science-fiction twist tossed in for good measure. [16 Sep 1994, p.14]