Miami Herald

Tsui Hark, the director, is apparently one of those filmmakers to whom the screwball comedy is not only still alive, but worthy of an extended salute. [07 Feb 1986, p.D9]

I Killed My Mother fares less well when Dolan gives in to some ill-conceived stylistic flourishes (understandable for a young, first-time filmmaker) or when his reach as a dramatist exceeds his grasp (an incident involving thugs who gay-bash Hubert, for example, feels superfluous). But the crux of the film is the furious, tempestuous bond between Hubert and Chantale, and through their volcanic fights, you can see Dolan's considerable talent at its least adorned. [23 Apr 2010, p.G7]

The film's one great asset, a real surprise, is Robert Downey Jr. in the title role. He grabs something of the Little Tramp's innate grace and anarchic wit, and he runs with it -- pratfalls with it and waddles off into the sunset with it. [08 Jan 1993, p.G5]

The movie is at its most chilling, oddly enough, when one or another chase isn't going on. The real fun begins when Ryan becomes desperate and goes for help to his old pals in intelligence. This is prime Clancy material -- high-tech surveillance, computerized image enhancement, Intelligence with a capital "I." [5 June 1992, p.G5]

It's a big, likable movie without quite enough jokes, but the stars take turns with the burden, carrying the thing in relays. They're fun to watch. [16 Dec 1986, p.D4]

Of course, Eddie Murphy is a funny man -- not the kind that throws around a succession of one-liners, but one who proceeds by hovering on themes. And, of course, he scores some points and gets some good laughs here -- and his quota of jeers, too. [24 Dec 1987, p.D7]

Hot Shots isn't quite that bad, but given the material -- the military mind is certainly, in military parlance, a target-rich environment -- it ought to be funnier. [31 July 1991, p.D1]

For a while, director Joe Dante spins some daft gags off the situation, and Hanks and Fisher deliver their droller lines with a deadpan sincerity that produces genuine unease. But it turns out that there isn't really much of a script here, and soon The 'Burbs has devolved into a slow build to the big anti-climax. [17 Feb 1989, p.10]

The writing is good and the direction rarely flabby, but the real strength of Buckaroo is in a large and enthusiastic cast, led by Peter Weller, who plays the title character with a perfect deadpan. [11 Aug 1984, p.B7]

Penny Marshall proves deft at blending the silly stuff with enough action to generate a bit of suspense; the mix is that of Beverly Hills Cop. And the script, though the work of a whole crowd -- almost always a bad sign -- has marvelous moments. [10 Oct 1986, p.D1]