In her review for the New York Times, Janet Maslin praised, " Mr. Campbell's manly, mock-heroic posturing is perfectly in keeping with the director's droll outlook ".

Referring to his 1991 film releases, The New York Times ’ critic, Janet Maslin, praised Reeves ’ versatility, saying that he “ displays considerable discipline and range.

Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, " The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933.

Janet Maslin of The New York Times said: " Generations is predictably flabby and impenetrable in places, but it has enough pomp, spectacle and high-tech small talk to keep the franchise afloat.

Janet Maslin praised Bridges ' performance in her review for The New York Times: " Mr. Bridges finds a role so right for him that he seems never to have been anywhere else.

" The New York Times ' Janet Maslin wrote, " The Professional is much too sentimental to sound shockingly amoral in the least.

In her New York Times review Janet Maslin wrote, Natalie Portman got film's " archest dialogue ", and called her " a budding knockout, and scene-stealingly good even in an overly showy role.

Janet Maslin wrote a strongly positive review in the New York Times, describing the film as " a delightful and witty compendium of the film maker's favorite things.

Janet Maslin of The New York Times wrote that film was " the best and funniest Clint Eastwood movie in quite a while ", and praised Eastwood's directing and the way he intricately juxtaposes the old West and the new.

Janet Maslin of The New York Times wrote that the film marked the highest point of Eastwood's directing career, and the film has since been cited as one of his most underrated directorial achievements.

The film received a mixed reception, with Janet Maslin of The New York Times writing, " his direction is galvanized by a sense of second chances and tragic misunderstandings, and by contrasting a larger sense of justice with the peculiar minutiae of crime.

Maslin agreed that some characters were unoriginal, but said their detailed characterizations made them memorable.

Maslin felt that Mendes directed with " terrific visual flair ", saying his minimalist style balanced " the mordant and bright " and that he evoked the " delicate, eroticized power-playing vignettes " of his theater work.

Janet Maslin of The New York Times called it " as breezily escapist as a film this facile can be " and added, " Ms. MacDowell ... has a lovely, demure ease that makes George's appreciative gaze quite understandable.

In her review in The New York Times, Janet Maslin called the film a " romantic comedy with barely a laugh or a spark, and with a pace that makes it feel longer than Mr. Kasdan's previous work, Wyatt Earp.

New York Times critic Janet Maslin praised DiCaprio's performance, writing " the film's real show-stopping turn comes from Mr. DiCaprio, who makes Arnie's many tics so startling and vivid that at first he is difficult to watch.

Central Conference of American Rabbis ( CCAR ) President Rabbi Simeon J. Maslin wrote a pamphlet about Reform Judaism, entitled " What We Believe ... What We Do ...".

* Maslin, Simeon J., Melvin Merians and Alexander M. Schindler, What We Believe ... What We Do ...: A Pocket Guide for Reform Jews UAHC Press, 1998

Janet Maslin, in a review of an Addams biography for The New York Times, wrote, " Addams's persona sounds cooked up for the benefit of feature writers ... was at least partly a character contrived for the public eye ," noting that one outré publicity photo showed the humorist wearing a suit of armor at home, " but the shelves behind him hold books about painting and antiques, as well as a novel by John Updike.

Janet Maslin of the New York Times called it Almodóvar's " best film by far ," noting he " presents this womanly melodrama with an empathy to recall George Cukor's and an eye-dampening intensity to out-Sirk Douglas Sirk.

In August 1999, Rialto Pictures re-released the film in the United States, based on the Cinematheque negative found in Toulouse ; after watching the new print at Lincoln Plaza Cinemas, Janet Maslin called it " beautifully refurbished " and " especially lucid.

* Herries, A. I. R .., Hopley, P., Adams, J., Curnoe, D., Maslin, M. 2010.

The film received a number of bad reviews from critics, although Maslin described it as " funnier and even better than its predecessor ".

Janet Maslin in The New York Times said Spacey was at his " wittiest and most agile " to date, and Roger Ebert of the Chicago Sun-Times singled Spacey out for successfully portraying a man who " does reckless and foolish things who doesn't deceive himself ".

Maslin agreed ; she said that while it " takes aim at targets that are none too fresh ", and that the theme of nonconformity did not surprise, the film had its own " corrosive novelty ".

Janet Maslin, a critic for The New York Times, described Cartwright as " a chubby, lumbering, slightly cross-eyed actress whose naturalness adds greatly to the film's impact ".

Janet Maslin, in her review for The New York Times, wrote, " Mike Nichols, who directed Working Girl, also displays an uncharacteristically blunt touch, and in its later stages the story remains lively but seldom has the perceptiveness or acuity of Mr. Nichols's best work ".

" Maslin considered some effects garish, but appreciated the filmmakers ' tirelessness " in trying to make their otherworldly characters look strange ".

In an October 17, 1980, review in The New York Times, Janet Maslin noted " the film's cleverness is aggressive and cool ," but concluded that although " the gamesmanship of The Stunt Man is fast and furious ... gamesmanship is almost all it manages to be ".

Janet Maslin, writing for the New York Times, felt that much of the film was absurd but that Jon Voight's performance was excellent, and she credits the film for " crude energy and bravado ".

In her review for New York Times, Janet Maslin wrote, " Restoration crams in more research and period detail than it can comfortably digest, but its story is not overwhelmed by such overkill ".

Janet Maslin from The New York Times praised Anthony Hopkins ' performance and " his character's embattled outlook and stiff, hunched body language with amazing skill ".

Janet Maslin of the New York Times praised the film whose " real heart is its devastating idea of a morning after: the moment when, after being in the grip of a political delusion lasting several decades, a man can emerge from a subterranean hiding place in his native Yugoslavia and be told that there is no Yugoslavia any more ".

In her review for The New York Times, Janet Maslin wrote, " Its jokes, characters and story line are as wispy as the ghosts themselves, and a good deal less substantial ".

Among the negative reviews, Janet Maslin from The New York Times wrote, " Mr. Lynch's taste for brain-dead grotesque has lost its novelty ".

In her review for The New York Times, Janet Maslin wrote, " Despite her sullen posturing, which is all this role requires, Ms. Jolie has the sweetly cherubic looks of her father, Jon Voight ".

Janet Maslin, in The New York Times, wrote " The worst of it is painless ; the best is funny, sly, cheerful and, here and there, even genuinely inspired ", while Roger Ebert called it " truly dreadful ".

In her review for The New York Times, Janet Maslin wrote, " Somehow Twister stays as uptempo and exuberant as a roller-coaster ride, neatly avoiding the idea of real danger ".

For her performance as Johnny Depp's wife in the 1997 film Donnie Brasco, critics such as Janet Maslin of New York Times wrote that Heche " does well with what could have been the thankless role ".

Janet Maslin also offered a positive review, stating: " thanks to its hugely effective use of Beethoven's most thrilling, tumultuous music, this film exerts much the same hypnotic power ".

In her review for The New York Times, Janet Maslin wrote, " the film is best when it takes students seriously, though it does so only intermittently ".

In her review for The New York Times, Janet Maslin wrote, " Dazed and Confused has an enjoyably playful spirit, one that amply compensates for its lack of structure ".

In her review for the New York Times, Janet Maslin wrote, " Ms. Lopez has her best movie role thus far, and she brings it both seductiveness and grit ; if it was hard to imagine a hard-working, pistol-packing bombshell on the page, it couldn't be easier here ".

Maslin saw Boys Don't Cry as a tale of a trapped small town character's search for life beyond their rural existence and the high price they pay for their view of the " American dream ".

Maslin observed that " unlike most films about mind-numbing tragedy, this one manages to be full of hope ".