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Writer-producer John Hughes' followup to Home Alone lacks the spit-polish and magic of the blockbuster but still has plenty of absorbing characters, smart, snappy dialog and delightful stretches of comic foolery.

Mr. Whaley has to work too hard to be antic in the early, Ferris Bueller-type scenes, but he gets much better in more easygoing moments. The gorgeous Ms. Connelly is more model than actress, but by those standards she is relatively lively.

CAREER OPPORTUNITIES is an entertaining film with interesting characters the viewer can actually care about.

There are worse people to be locked inside a movie with than these two, but they’re not given anything to do . You don’t want to hear about how they can’t relate to their fathers; you don’t want to hear about their fantasies of ditching the Midwest and jetting to L.A.

Whaley has some ingenuous charm, and Connelly may have some skills, too. The script gives neither much opportunity. [2 Apr 1991, p.4D]

In a sense, John Hughes doesn’t produce movies anymore. He produces entertainment machines, and Career Opportunities has been shamelessly patched together — like Frankenstein’s monster — from bits and pieces of Home Alone and The Breakfast Club.

Jennifer Connelly is very easy to look at. Career Opportunities isn't. Go see the standee.

Career Opportunities is a real strange one, a tasteless and completely off-key comedy that has the elements of the much-more serious and more interesting picture it could have been -- if only the film makers had a clue as to what sort of movie they were making. [30 March 1991, p.C3]

It manages to combine the least appealing qualities of several previous Hughes productions - the obnoxiousness of the central character in "Ferris Bueller's Day Off," the tedium of the teen-age confessionals in "The Breakfast Club," the gimmicky plotting of "Home Alone." And it has nothing fresh to add in terms of casting, storyline or the kinds of comic insights about suburban life that sustain Hughes' best scripts. [30 March 1991, p.C5]

And as nice as it is to see dishy Jennifer Connelly roller-skate down the store's aisles, the scene is just one more instance of obvious padding to push the running time to (just) past 80 minutes. [2 Apr 1991, p.6D]