Julie Salamon
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For 94 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 3.3 points higher than other critics. (0-100 point scale)

Julie Salamon's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Unforgiven
Lowest review score: 0 Ferris Bueller's Day Off
Score distribution:
  1. Positive: 51 out of 94
  2. Negative: 13 out of 94
94 movie reviews
    • 86 Metascore
    • 100 Julie Salamon
    This brilliant satire, styled as a murder mystery, is the best insider's view of Hollywood since "Sunset Boulevard." [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 100 Julie Salamon
    Mr. Frears is as good with the small touches as he is with the big ones – and that means they're great. [24 Jan 1991, p.A8(E)]
    • Wall Street Journal
    • 77 Metascore
    • 100 Julie Salamon
    The movie has its own genuine charm and one hilarious high: Billy Crystal & Carol Kane are simply wonderful. [24 Sept 1987, p.24(E)]
    • Wall Street Journal
    • 94 Metascore
    • 100 Julie Salamon
    The most imaginative movie to come along in ages. [18 Oct 1994, p.A14(W)]
    • Wall Street Journal
    • 93 Metascore
    • 100 Julie Salamon
    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)]
    • Wall Street Journal
    • 82 Metascore
    • 100 Julie Salamon
    It's powerful entertainment. [22 Sept 1992, p.A16(E)]
    • Wall Street Journal
    • 83 Metascore
    • 100 Julie Salamon
    A magnificent movie. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 89 Metascore
    • 100 Julie Salamon
    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)]
    • Wall Street Journal
    • 79 Metascore
    • 100 Julie Salamon
    Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]
    • Wall Street Journal
    • 90 Metascore
    • 100 Julie Salamon
    This unpredictable and hilarious paranoid fantasy is a contemporary, urban "Wizard of Oz," peopled by punk artists and Yuppie vigilantes instead of wicked witches and Munchkins. [5 Sep 1985, p.1]
    • Wall Street Journal
    • 90 Metascore
    • 90 Julie Salamon
    Persistently upends expectations without insult, as it pulls you into a netherworld filled with yearning, whimsy, and danger. [15 Dec 1992, p.A16(E)]
    • Wall Street Journal
    • 86 Metascore
    • 90 Julie Salamon
    [Crowe] knows how to shape a scene and he's never cheap with characterization; adults are permitted to be as complex as their children; a rare event in pictures. [18 May 1989, p.A14(E)]
    • Wall Street Journal
    • 65 Metascore
    • 90 Julie Salamon
    A film that is both touching and generous of spirit - and funny as well. [15 Dec 1988, p.A16(E)]
    • Wall Street Journal
    • 79 Metascore
    • 90 Julie Salamon
    This is a first-rate squealer. [07 Aug 1986]
    • Wall Street Journal
    • 74 Metascore
    • 90 Julie Salamon
    The director Penny Marshall has gone straight to the heart of this complex story and made a powerfully poignant and illuminating film. She doesn't hesitate to push for the grand sentimental moment, but balances the teary stuff with restraint and humor. To be sure, Awakenings seems calculated to induce weeping -- and it does, without making the weeper feel cheap. [20 Dec 1990, p.A14]
    • Wall Street Journal
    • 84 Metascore
    • 90 Julie Salamon
    The dialogue in "Broadcast News" is so quick and clever I wanted to see the movie again the minute it ended because I knew I couldn't have possibly caught it all. I caught most of it though, and certainly enough to know that this is one terrific movie. [15 Dec 1987, p.1]
    • Wall Street Journal
    • 81 Metascore
    • 90 Julie Salamon
    This musical about a plant that craves blood has a smart and snappy score -- and Steve Martin in a hilarious bit as a dentist who gives himself laughing gas as he treats his unanesthetized patients. [23 Dec 1986, p.1]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    Heathers gave me the creeps but it also made me laugh. This bizarre variation on that Hollywood staple, the teen movie, is one weird original. [30 Mar 1989 p.A12(E)]
    • Wall Street Journal
    • 93 Metascore
    • 80 Julie Salamon
    What's fun about this movie is the sight of Mr. Irons's Claus stalking the mansion like a tall, skinny ghost smiling at the perverseness of it all. [18 Oct 1990, p.A14(E)]
    • Wall Street Journal
    • 66 Metascore
    • 80 Julie Salamon
    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]
    • Wall Street Journal
    • 76 Metascore
    • 80 Julie Salamon
    The movie's considerable emotional force springs from the splendor of its visual poetry. Mr. Bertolucci allows the sweep of 60 years of Chinese history to unfold around Pu Yi as background noise to his peculiar, poignant role in the emergence of modern China. [25 Nov 1987, p.1]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    Besides engineering top-notch performances from his actors, Mr. Demme also put together a soundtrack that enhances the movie's marvelous, quirky rhythms. He keeps you hooked into this unpredictable, pleasurable picture right through the closing credits. [6 Nov 1986]
    • Wall Street Journal
    • 59 Metascore
    • 80 Julie Salamon
    By the end there isn't anyone to cheer for, except the makers of this thoughtful and absorbing piece of work. [02 Aug 1984]
    • Wall Street Journal
    • 73 Metascore
    • 80 Julie Salamon
    To their credit, and to the credit of Paul Newman and Joanne Woodward in the title roles of Mr. and Mrs. Bridge, the movie doesn't condescend to these relics of the recent past, but treats them with poignancy and humor. [21 Nov 1990]
    • Wall Street Journal
    • 82 Metascore
    • 80 Julie Salamon
    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]
    • Wall Street Journal
    • 80 Metascore
    • 80 Julie Salamon
    Mr. Scorsese has created a Judea that is dusty and harsh, where visions in the middle of a night seem like. Some of the visual compositions are dizzyingly beautiful; the Crucifixion scene couldn't be more masterful, or heartbreaking. [11Aug 1988, p.1]
    • Wall Street Journal
    • 72 Metascore
    • 80 Julie Salamon
    JFK
    It's powerful film making that at the very least accomplishes what Mr. Stone said he set out to do - to offer the world an alternate myth. [20 Dec 1991]
    • Wall Street Journal
    • 68 Metascore
    • 80 Julie Salamon
    I never saw the original, but the sprightly remake couldn't be more delightful. As the ultra-suave Lawrence Jamison, Mr. Caine wears his hair and mustache Niven-like -- slicked down but never greasy. He manages to draw more laughs by merely reacting than most comics can pull out of a punchline. With his calculated coarseness, Mr. Martin is a perfect foil. Behind the scenes is former Muppet Man Frank Oz. He pulls the strings so deftly he never disturbs the froth. [15 Dec 1988, p.1]
    • Wall Street Journal
    • 82 Metascore
    • 80 Julie Salamon
    The picture sets up high expectations for itself with its wonderful casting, and the actors don't disappoint. [1 Aug 1989, p.1]
    • Wall Street Journal
    • 60 Metascore
    • 80 Julie Salamon
    With an edgy, intelligent script by playwright Tom Stoppard, Mr. Spielberg has made an extraordinary film out of Mr. Ballard's extraordinary war experience. [09 Dec 1987]
    • Wall Street Journal
    • 83 Metascore
    • 80 Julie Salamon
    As director, Mr. Branagh and his cameraman have chosen to shoot his film tight and drab, a style that allows the actors to speak the poetry without affect. Nothing's prettified. [09 Nov 1989]
    • Wall Street Journal
    • 72 Metascore
    • 80 Julie Salamon
    Big
    I am glad to be able to say that all these clever and talented people have actually come up with the goods. The biggest goodie is Tom Hanks as the little boy after his wish has been granted. Much of the comedy in this movie is physical. Without forcing the matter Mr. Hanks has a startling ability to take on the mannerisms and facial expressions of an adolescent. [2 Jun 1988, p.1]
    • Wall Street Journal
    • 67 Metascore
    • 80 Julie Salamon
    This clever thriller has the juiced-up, hyperactive feel of a rock video. [07 Mar 1995]
    • Wall Street Journal
    • 77 Metascore
    • 80 Julie Salamon
    The strangest thing about his latest picture, Hairspray, is how very sweet and cheerful it is. In his own weird way, Mr. Waters has captured the gleeful garishness of the early '60s, when high-school girls wore demure bows in their ratted hair and deadened their lips with palest pink lip gloss -- and believed that racial harmony was inevitable if teens of all flavors could dance together on TV. [25 Feb 1988, p.1]
    • Wall Street Journal
    • 83 Metascore
    • 70 Julie Salamon
    [(Cher's) never been better. [5 Jan 1988, p.22(E)]
    • Wall Street Journal
    • 73 Metascore
    • 70 Julie Salamon
    Mr. Singleton is a very good storyteller, but every once in a while he stops his story cold with speeches. You can feel the audience lost interest, as though a commercial has suddenly popped on screen. [18 July 1991, p.A9(E)]
    • Wall Street Journal
    • 65 Metascore
    • 70 Julie Salamon
    A warm-heared picture with some hot dancing, some B movie class consciousness, lots of nostalgia and lots of cliches. [3 Sept 1987, p.17(E)]
    • Wall Street Journal
    • 80 Metascore
    • 70 Julie Salamon
    It's all rather amusing, but after awhile you tire of all the perfect little nuances about characters who seem like prototypes for a certain type of Victorian novel. [6 Mar 1986, p.23(E)]
    • Wall Street Journal
    • 64 Metascore
    • 70 Julie Salamon
    Too often the film languishes as Mr. Kasdan poses Big Questions and then has his characters answer them in conversations that are so casual they seem improvised. [26 Dec 1991]
    • Wall Street Journal
    • 58 Metascore
    • 70 Julie Salamon
    Green Card is quite pleasant to watch mainly because Mr. Weir hasn't disturbed its simple virtues with undue portent. Sometimes a plate of spaghetti with a simple tomato sauce is just the thing, and this is the movie equivalent of that. [10 Jan 1991, p A12]
    • Wall Street Journal
    • 82 Metascore
    • 70 Julie Salamon
    Though the picture by no means endorses drugs, and paints the junkie life as almost intolerably dull as well as destructive, it is a welcome relief from the mostly heavy-handed Hollywood pictures that tackle the subject. [05 Oct 1989]
    • Wall Street Journal
    • 64 Metascore
    • 70 Julie Salamon
    Silverado looks great and moves fast. Mr. Kasdan has packed his action well against the fearsomely long, dusty stretches of Western plain. [11 Jul 1985, p.1]
    • Wall Street Journal
    • 71 Metascore
    • 70 Julie Salamon
    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]
    • Wall Street Journal
    • 62 Metascore
    • 70 Julie Salamon
    The Man Without a Face is nothing if not respectable, and occasionally it is something more than that. [26 Aug 1993, p.A9]
    • Wall Street Journal
    • 56 Metascore
    • 70 Julie Salamon
    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]
    • Wall Street Journal
    • 45 Metascore
    • 70 Julie Salamon
    With a refreshing absence of earnestness, the movie mainly spins out many variations on a theme: Easy Street begins and ends on Capitol Hill. [03 Dec 1992]
    • Wall Street Journal
    • 49 Metascore
    • 70 Julie Salamon
    Odd as it seems for a film built on such a grand scale, sweet is the operative word here, and that's not meant as an insult. [29 May 1992]
    • Wall Street Journal
    • 60 Metascore
    • 70 Julie Salamon
    The movie blurs into a continuum of cars pounding one another and closeups of faces showing disgust, happiness, fear and outrage. It's the kind of shorthand imagery that works best in brief spurts, say, the amount of time it takes for a television commercial to implant a spark-plug brand into your brain. [5 Jul 1990, p.A9]
    • Wall Street Journal
    • 39 Metascore
    • 70 Julie Salamon
    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]
    • Wall Street Journal
    • 46 Metascore
    • 70 Julie Salamon
    This fairy tale is a weirdly enchanting mixture of old-fashioned whimsy and up-to-the-minute special effects. It brings back the early excitement of reading as a child, when the act of turning pages took on a magical quality. [19 Jul 1984, pg.1]
    • Wall Street Journal
    • 68 Metascore
    • 70 Julie Salamon
    Whatever the movie's failings, it had enough poignancy and beauty to make me want to find out what was missing. [08 Oct 1992]
    • Wall Street Journal
    • 62 Metascore
    • 60 Julie Salamon
    Though not terribly interesting as political philosophy, A Few Good Men makes for a passably entertaining movie. [31 Dec 1992, p.A5(E)]
    • Wall Street Journal
    • 69 Metascore
    • 60 Julie Salamon
    But even as the film's weaknesses make themselves more and more apparent, so does Mr. Turturro's virtuosity. [15 Aug 1991, p.A10(E)]
    • Wall Street Journal
    • 66 Metascore
    • 60 Julie Salamon
    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]
    • Wall Street Journal
    • 53 Metascore
    • 60 Julie Salamon
    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]
    • Wall Street Journal
    • 50 Metascore
    • 60 Julie Salamon
    The movie that remains is lovely to look at, but spiritless, a listless coquette. But then, 9 1/2 Weeks isn't about talk. It isn't about sadomasochism. It isn't even about sex. It's about looking good. [20 Feb 1986, p.1]
    • Wall Street Journal
    • 68 Metascore
    • 60 Julie Salamon
    Like the "girls," the movie is flamboyant in almost every respect - the costumes, the humor and the sentimentality. [1 Sep 1994]
    • Wall Street Journal
    • 67 Metascore
    • 60 Julie Salamon
    Mr. Lyne is able to make things look the way they're supposed to look because he trained in the television-commercial world. But he has a hard time getting beneath the gloss. [17 Sep 1987, p.1]
    • Wall Street Journal
    • 74 Metascore
    • 60 Julie Salamon
    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]
    • Wall Street Journal
    • 71 Metascore
    • 60 Julie Salamon
    Mr. Nichols decided to preserve the jokiness of the original material, even while shifting the emphasis to the mother-daughter conflict. There may have been a way to do this and end up with a clever movie, but Mr. Nichols seems to have had an even cleverer idea: He decided to use this movie as a way to pay back social obligations. [13 Sep 1990, p.A14]
    • Wall Street Journal
    • 67 Metascore
    • 60 Julie Salamon
    Lethal Weapon is vulgar, violent and predictable. Yet, in some outbreak of id, I got caught up in the shenanigans of Danny Glover and Mel Gibson as a mismatched cop team. Mr. Glover is more than solid and Mr. Gibson has added a kind of raw humor to his repertoire that is extremely sexy. [5 Mar 1987, p.1]
    • Wall Street Journal
    • 46 Metascore
    • 60 Julie Salamon
    There weren't any surprises and that's what made it all so comforting. The bad guys got blown away, no questions asked, the snoopy journalists got their comeuppance. When Clint spends the night with his latest girl, you know it only because he wears the same suit the next morning. [21 Jul 1988, p.1]
    • Wall Street Journal
    • 48 Metascore
    • 60 Julie Salamon
    Some of the comedy bits have a delightful freshness and edge while much of the glue (the romance, for example) holding the routines together remains a little sticky. [31 Jan 1989, p.1]
    • Wall Street Journal
    • 67 Metascore
    • 60 Julie Salamon
    It's a little precious and a little boring, but he has brought out an interesting performance from Adrienne Shelly, who convincingly pulls off a transformation from aimless pregnant teenager to purposeful young woman. [05 Sep 1991]
    • Wall Street Journal
    • 55 Metascore
    • 50 Julie Salamon
    These fraternal film makers have a lot of imagination and sense of fun - and, most of all, a terrific sense of how to manipulate imagery... But sometimes they seem to be getting too big a kick out of their own shenanigans. By the end, the fun feels a little forced. [26 Mar 1987, p.34(E)]
    • Wall Street Journal
    • 77 Metascore
    • 50 Julie Salamon
    This is all very strange and a little tedious. Yet there is something arresting and oddly poignant in Mr. Van Sant's playful vision of the road to nowhere. [3 Oct 1991, p.A14(E)]
    • Wall Street Journal
    • 47 Metascore
    • 50 Julie Salamon
    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]
    • Wall Street Journal
    • 62 Metascore
    • 50 Julie Salamon
    As a metaphysical exploration of otherworldliness, Jacob's Ladder has a kind of morbid intensity, for those who like that sort of thing. The picture flounders, however, with its insistence on injecting a little politics into the paranormal brew. [1Nov 1990, p.A20]
    • Wall Street Journal
    • 44 Metascore
    • 50 Julie Salamon
    The director Penny Marshall has a gently persuasive touch that keeps the movie's most brazen manipulations from being too offensive. [02 Jun 1994]
    • Wall Street Journal
    • 56 Metascore
    • 50 Julie Salamon
    Wall Street is a silly, pretentious melodrama that panders to the current fascination with insider trading. [10 Dec 1987, p.1]
    • Wall Street Journal
    • 53 Metascore
    • 50 Julie Salamon
    Matching Danny DeVito and Arnold Schwarzenegger is an amusing conceit played out in an entirely predictable fashion. It certainly isn't harmful, and Mr. Schwarzenegger is kind of cute when he smiles. [8 Dec 1988, p.1]
    • Wall Street Journal
    • 28 Metascore
    • 50 Julie Salamon
    A brilliant but completely muddled concoction about the relationship between fantasy and reality. [16 Jul 1992]
    • Wall Street Journal
    • 60 Metascore
    • 50 Julie Salamon
    Actually, maybe the movie is better than it seems to be -- I just couldn't understand what anyone was saying. The dialogue came across as clear as schoolyard chatter during recess -- and just about as pleasant to listen to. There is a water slide, a pirate ship and an amusing little chubbikins (Jeff Cohen) who squirts Reddi Wip directly into his mouth. [20 Jun 1985, p.1]
    • Wall Street Journal
    • 52 Metascore
    • 40 Julie Salamon
    Hoffman and Beatty are so tone-deaf they don't even know how to play the songs for deadpan humor. They seem old, white, and without shtick. [14 May 1987, p.26(E)]
    • Wall Street Journal
    • 55 Metascore
    • 40 Julie Salamon
    It's just that the picture doesn't have a strong idea behind it, just a fog of many half-expressed ideas. [26 Feb 1987, p.20(E)]
    • Wall Street Journal
    • 78 Metascore
    • 40 Julie Salamon
    The only thing Mr. Tarantino spells out is the violence. I have seen much more blood spilled, yet I felt sickened by the coldness of this picture's visual cruelty. [29 Oct 1992, p.A11(E)]
    • Wall Street Journal
    • 42 Metascore
    • 40 Julie Salamon
    The story wanders unconvincingly and tediously into corporate law offices and big, splashy nightclubs. Still, Mr. Hackford has the documentary maker's eye for realistic detail, so it all looks right. [01 Mar 1984]
    • Wall Street Journal
    • 49 Metascore
    • 40 Julie Salamon
    The picture's blandness - and hollowness - is startling when you consider the collaborators. [26 Nov 1986]
    • Wall Street Journal
    • 56 Metascore
    • 40 Julie Salamon
    Mr. Murray and his co-director, Howard Franklin, who adapted Jay Cronley's novel for the screen, succeed mainly in illuminating what made them want to direct the material. At least this picture struggles to emit a few gasps of fresh air as it goes down. [19 Jul 1990, p.A8]
    • Wall Street Journal
    • 56 Metascore
    • 40 Julie Salamon
    It's ended up a weak imitation of the original. [09 Aug 1990]
    • Wall Street Journal
    • 32 Metascore
    • 40 Julie Salamon
    UHF
    UHF, a parody of trash television, is almost defiantly silly, but when it's funny it is very funny. This sloppy, good-natured satire certainly doesn't threaten "Network's" status as the classic decimation of the television business. [27 Jul 1989, p.1]
    • Wall Street Journal
    • 78 Metascore
    • 30 Julie Salamon
    By most standards of conventional film narrative, this movie is a mess. [25 June, 1987, p.22(E)]
    • Wall Street Journal
    • 17 Metascore
    • 30 Julie Salamon
    Despite all of its failures of wit, sense, and pace, the film does most effectively flaunt the millions spent on it. The inane action takes place in splendiferous settings. [23 May 1991]
    • Wall Street Journal
    • 58 Metascore
    • 30 Julie Salamon
    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]
    • Wall Street Journal
    • 42 Metascore
    • 30 Julie Salamon
    The makers of Return to Oz say that their rather bleak, nonmusical fantasy is more faithful to Mr. Baum's vision than "The Wizard of Oz" was. What's appropriate, however, isn't always what's right. All Ms. Balk can do is look earnest and young; Ms. Garland opened her mouth and out came Dorothy's soul.
    • Wall Street Journal
    • 53 Metascore
    • 20 Julie Salamon
    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]
    • Wall Street Journal
    • 63 Metascore
    • 20 Julie Salamon
    Maybe the worst part (there's so much to choose from) is the sight of a good actor like Edward Herrmann parading around looking like a demented quarterback, the shoulders of his suit jacket grotesquely padded. Mr. Schumacher has dressed the adorable Corey Haim in even weirder getups, jackets with pastel stripes and little outfits that resemble dresses. The vampires aren't nearly as creepy as those clothes. [6 Aug 1987, p.1]
    • Wall Street Journal
    • 35 Metascore
    • 10 Julie Salamon
    My Blue Heaven is interesting as an example of how talented or at least experienced people can spend a great deal of time, money and effort on a movie that fails consistently, in almost every single scene. [30 Aug 1990]
    • Wall Street Journal
    • 36 Metascore
    • 10 Julie Salamon
    This time Rambo pulls off his superhuman Soviet-blasting stunts in Afghanistan, not quite as late on the scene as he was in Vietnam. Not very exciting; very noisy. [2 Jun 1988, p.1]
    • Wall Street Journal
    • 47 Metascore
    • 10 Julie Salamon
    The movie has the cartoonish realism of a Muppet movie. However, Mr. Herman is no Kermit the Frog, although he made me feel like Oscar the Grouch. [13 Aug 1985, p.1]
    • Wall Street Journal
    • 46 Metascore
    • 10 Julie Salamon
    When director Richard Attenborough isn't mangling dance numbers, he's focusing on a love story expressed almost entirely by means of close-ups of moony faces and teary eyes. [12 Dec 1985]
    • Wall Street Journal
    • 55 Metascore
    • 10 Julie Salamon
    Doc says: "I can't believe this is happening." …That sentence may be the only one uttered in the entire film that contains an ounce of true feeling. Certainly that was the thought on my mind as I watched this depressing rehash of material that seemed original just five years ago, when it was. And "I can't believe this is happening" seemed to be what most of the actors were thinking as they gamely trudged through their paces yet again. [31 May 1990, p.A12]
    • Wall Street Journal
    • 60 Metascore
    • 0 Julie Salamon
    One of the least appealing movies I've seen in a while.... When a member of the audience belched loudly, that got the biggest laugh of the day. [17 June 1986, p.26(E)]
    • Wall Street Journal
    • 36 Metascore
    • 0 Julie Salamon
    It's all played for giggles, this grim anti-humanism. [21 May 1992]
    • Wall Street Journal

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