Boomerang is the funniest, most sophisticated movie of Eddie Murphy's career; it's a sleek, dexterous satire, with a slew of rich comic performances that remind us of everything we loved about Murphy in the first place.

The movie benefits from a stylish, high-gloss look, a hit-filled soundtrack and up-to-the-minute dialogue (there's even a Korean shop-owner joke) that feels winningly off the cuff.

The movie then becomes a story of salvation: how Murphy's Marcus, through the love of a better woman (Halle Berry) manages to rediscover both his decency and his humanity. And yet, pretty much, it stays funny. [01 Jul 1992]

Boomerang, a sleek, confident and very funny urban comedy that may not entirely overcome Murphy's more discomfiting tendencies, but at least manages to put them to good use. [01 Jul 1992]

The real surprise of the movie is Eddie Murphy, who finds his character and stays with him.

The general idea is to exploit a certain amount of role reversal, and Reginald Hudlin, who directed "House Party," does a fairly good job of making this fun.

It is thoughtful and well enough acted throughout. [03 Jul 1992]

The result is a megabudget "House Party" -- amiable, colorful, filled with glamour and style. [01 Jul 1992]

More interesting than entertaining and too long by far.

This is cornily predictable stuff, but it raises itself on a number of counts, with Murphy's transformation from a self-assured cocksman to bewildered, lovesick drip being approached with greater gusto than might be expected.

The pace is a little too languid, and the vulgarity a little too frequent, for the movie to work as intended.

The funniest parts of this uneven, ostentatiously upscale comedy are those that find Mr. Murphy's Marcus adopting the behavior of a sexually insecure woman.

Murphy seems committed to pushing his hostile vision, and that in itself is interesting. [01 Jul 1992]

The movie, though, is more of the same: another current comedy with want-to-see elements that fails to deliver the goods. [01 Jul 1992]