Juan Carlos Coto

This British-made story of an advertising executive and the boil on his neck begins as a marketable concept comedy and turns into a combination psychological horror flick and thought- provoking parable. [10 Jul 1989, p.C5]

Be warned: King of New York is trash, but it's trash with an attitude. [25 Oct 1990, p.11]

The People Under the Stairs is about nooks, crannies and crevices, and there's allegory everywhere: comments on the horror of our cities, the Ron and Nancy-esque landlords. [07 Nov 1991, p.F7]

White Palace is formula stuff, but it succeeds on the strength of performances, a clever script and thoughtful direction by Luis Mandoki. [19 Oct 1990, p.G11]

Despite some forced lines and an overlong competition sequence, Holland holds The Wizard together well, supplementing the obvious stand-up-and-cheer climax with a moving conclusion. [15 Dec 1989, p.12]

Not Without My Daughter ultimately does what it's supposed to do. It makes us care, it keeps us interested (mostly), but it rarely delivers more -- despite what the producers might think. [11 Jan 1991, p.G13]

Skin Deep works best when the director delivers his stock in trade -- slapstick and sight gags. [3 March 1989, p.6]

Being allowed to film in Russia was a blessing and a curse -- Schepisi weighs down the film with endless pans and traveling shots of neoclassical and Russian baroque architecture. All those buildings, monuments and squares. [21 Dec 1990, p.G5]

Memories of Me is not great cinema, but like the best Hollywood schmaltz, it's delightful. [07 Oct 1988, p.E6]

The movie definitely belongs to the hyper-kinetic Hunter, who originated the role of Carnelle on stage. Still, no matter how many cartwheels or rifle twirls she gives us, Miss Firecracker never becomes more than a pleasant flash. [12 May 1989, p.5]