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Maslin and Simeon
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 and J
Critic Janet Maslin remarked that the director " uses his gift for eloquent abstraction to create sobering, obscenely beautiful images of a natural world that has run amok "; her colleague J. Hoberman called it " the culmination of Mr. Herzog's romantic doomsday worldview ".
" Janet Maslin called it an " unexpectedly solid thriller " with a " first-rate, madly photogenic performance " by Pitt ; she notes that it is " directed by Alan J. Pakula in a thoughtful urban style that recalls the vintage New York stories of Sidney Lumet " and " handsomely photographed by Gordon Willis ".
* Herries, A. I. R .., Hopley, P., Adams, J., Curnoe, D., Maslin, M. 2010.

Maslin and M
* Maslin, N. M. " HF Communications-A Systems Approach ".

Maslin and .
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.
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.

Maslin and ...
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 of The New York Times said, " Everything about Boogie Nights is interestingly unexpected ," although " the film's extravagant 2-hour 32-minute length amounts to a slight tactical mistake ... has no trouble holding interest ... but the length promises larger ideas than the film finally delivers.
" Critic Janet Maslin wrote of Terence Stamp's work, " Stamp plays the title role furiously, with single-minded intensity, wild blue eyes and a stentorian roar shown off in the film's early moments ... Glimpses of young, dreamily beautiful Stamp and his no less imposing latter-day presence are used by Soderbergh with touching efficacy.
" Maslin praised Oldman and Harris, writing, " Jackie Flannery is played by the phenomenal Gary Oldman, who since Sid and Nancy has taken on a string of new accents and dramatic identities with stunning ease ", and " Jackie's icy older brother ... is played by Ed Harris with an eeriness to match Mr. Oldman's.
Writing at the time of release, Janet Maslin of The New York Times said, " This long, spare, contemplatively paced film, scored with a wide range of musical styles and given a sun-baked clarity by Stuart Dryburgh's cinematography, is loaded with brief, meaningful encounters ... And it features a great deal of fine, thoughtful acting, which can always be counted on in a film by Mr. Sayles.
In a 1996 review, Janet Maslin called the film an " uneven but ripely nostalgic show "; although " rumor had it that the Stones ... thought they looked tired and felt upstaged by the high-energy Who ", " it hardly looks that way as Mick Jagger's fabulous performance nearly turns this into a one-man show.
Janet Maslin in the New York Times wrote: " This modest film actually covers a lot of ground ... Love Field brings remarkably few preconceptions to the telling of its understated story.
Janet Maslin in the New York Times wrote that " Married to the Mob works best as a wildly overdecorated screwball farce ... it also plays as a gentle romance, and as the story of a woman trying to re-invent her life.
" Janet Maslin, writing for The New York Times, finds that " The film's synthesis of fact and fiction is gracefully achieved ," and expressed hope that after the screening of Lamerica at the 1995 New York Film Festival, Amelio would " emerge ... much more widely known.
" Hard Rain ... seemed to come at a time when the Rolling Thunder Revue, so joyful and electrifying in its first performances, had just plain run out of steam ," wrote Janet Maslin, then a music critic for Rolling Stone.
Janet Maslin of The New York Times wrote that the film's " musical numbers are strung together so mindlessly that the movie has the feel of an interminable variety show "; while it may have been " conceived in a spirit of merriment, ... watching it feels like playing shuffleboard at the absolute insistence of a bossy shipboard social director.
Janet Maslin of The New York Times called the book " spellbinding ... bold, dynamic, unusually vivid ," while a reviewer in The New York Times Book Review suggested that Hellhound " may be the first book on King that owes less to Taylor Branch than Robert Ludlum.
Janet Maslin, film critic for The New York Times, did not like the screenplay nor the performances of the actors and wrote, " The surprise is not that Mr. Milius has made such a resoundingly awful film, but rather that he's made a bland one ... the movie often seems even more uneventful than material like this need make it, and Mr. Milius's attention to his actors focuses more closely on their pectorals than on their performances.

Maslin and Guide
" Critics also noted its generally asexual treatment of homosexuality: Janet Maslin commented in the New York Times that the film is not one " to associate gayness with actual sex ," while TV Guide quipped that it " finally gets discussion about gay people out of the bedroom and into the record store.

Maslin and for
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 wrote that Nimoy's technical direction left " much to be desired " ( pointing out a special effects scene where the Bird-of-Prey does not cast a shadow on the whaling ship as a mistake ), but his " unmistakable " sincerity made up for these issues.
In her review for The New York Times, Janet Maslin wrote, " Mr. Hopper finds nice new ways to convey crazy menace with each new role.
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 ".
Janet Maslin in her review for The New York Times comments, " Ms. Goldberg plays the character's amazement, irritation and great gift for back talk to the hilt.
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 ".
His performance, described by Janet Maslin in The New York Times as " desperately moving ", was widely praised, though Downey has said that for him " the role was like the ghost of Christmas Future " since his drug habit resulted in his becoming an " exaggeration of the character " in real life.
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 ".
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 ".
In her review for The New York Times, Janet Maslin wrote, " But when that group sing-along arrives, Magnolia begins to self-destruct spectacularly.
Among the negative reviews, Janet Maslin from The New York Times wrote, " Mr. Lynch's taste for brain-dead grotesque has lost its novelty ".
New York Times film critic, Janet Maslin, thought the film was rather simple, and wrote, " Stiffly playing a filmmaker with a growing passion for the tango, Potter makes this a handsome, dryly meticulous film with no real fire anywhere beyond its supple dance scenes.
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 ".
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 ".
Janet Maslin, writing for The New York Times, was impressed with Lou Diamond Phillips ' performance, and wrote, " A film like this is quite naturally a showcase for its star, and as Valens, Lou Diamond Phillips has a sweetness and sincerity that in no way diminish the toughness of his onstage persona.

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