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 from The New York Times agreed, writing that Coppola, known for his dark approach on his previous films, " found the directorial range to actually make a feel-good movie.

The dialogue and banter was considered a positive and defining aspect of the film ; Janet Maslin of The New York Times said that " Star Trek VI is definitely colorful, but even more of its color comes from conversation, which can take some amusingly florid turns.

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

" Janet Maslin of The New York Times repeated some of Roger Ebert's sentiments stating that " Preston Sturges might have made a movie like Trading Places-if he'd had a little less inspiration and a lot more money.

In her review for The New York Times, Janet Maslin wrote, " Mr. Harmon, making his feature debut, displays a much surer hand for action than for character, though even some of the action footage here looks meaninglessly overblown ".

In a New York Times review, Janet Maslin wrote "... Mr. Morton has found a number of former Scientologists who are willing to speak freely, and in some cases vengefully, about the group ’ s purported inner workings.

However, some thought the book was too long, or criticized Kostova's lack of tonal variety ; Janet Maslin wrote in The New York Times that the book was " ponderous " and had a " contorted narrative structure ".

" Plummer and Warner's portrayals of their Klingon characters were well-received ; Maslin commented that " whenever a skilled actor [...] manages to emerge from behind all this with his personality intact, it's a notable accomplishment.

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 ".

Although Janet Maslin of The New York Times criticized the film's animation, she later went on to say that the film is a " fond tribute to Looney Tunes characters ' past.

" " All the film's characters are flesh and blood ", Maslin added, pointing particularly to the portrayals by Kristofferson, Canada, James, Morton and Colon.

The film was an NYT Critics ' Pick: according to Janet Maslin, " Mr. Salles directs simply and watchfully, with an eye that seems to penetrate all the characters "; the film features a " bravura performance by the Brazilian actress Fernanda Montenegro.

Critic Janet Maslin of The New York Times commented: " The animation [...] has an unfortunate way of endowing the male characters with doggy-looking muzzles.

Writing in the New York Times, Janet Maslin praised Ferrara's talent for making " gleefully down-and-dirty films ", continuing, " He has come up with his own brand of supersleaze, in a film that would seem outrageously, unforgivably lurid if it were not also somehow perfectly sincere.

" Maslin in the New York Times thought that Pfeiffer and Modine were " readily upstaged by Miss Ruehl and, especially, by Mr. Stockwell.

Others, such as Jonathan Rosenbaum of Chicago Reader, Peter Travers of Rolling Stone, Janet Maslin of The New York Times, and Jack Mathews of the Los Angeles Times were more positive, with Rosenbaum in particular praising the movie's ' mellowness ' and ' charm '.

Contributors were: John Elder, Marcel Maslin, Andrew Kelly, Peter Sirr, Dave Cameron, Kate Broadley, Alex Landragin, E. A. Gleeson, Nick Enright, Jack Hibberd, Peter Carey, Nicki Greenberg, Elliot Perlman, Lachlan Stephens, Dan Disney, Simon Enticknap, O. S. Claridge, Sam Chesser, Zoltan Kovacs, Rebecca Maidment, Ben Wilensky, Paul McKnight, Jefferson Kinsman, Kate Middleton, Greg Barwick, Jan Dean, Annette Trevitt, Mark Mahemoff, Sydney Smith, and Rebecca Law.

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 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 ".

In her review in The New York Times, Janet Maslin said, " The only sneaky scheme at work here is the one that inflates a hollow plot to fill 2¼ hours while banishing skepticism with endless close-ups of big, beautiful movie-star eyes.

In her review in The New York Times, Janet Maslin said the film " is every bit as magical as the trick around which it revolves.

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.

" New York Times critic Janet Maslin praised the performances but said that " it drifts gradually toward climactic events that seem convenient and contrived.

" Howard appears to have had his hands full in simply harnessing the special effects ," Maslin said.

In her review in the New York Times, Janet Maslin said, " As Holy Smoke moves from its early mix of rapture and humor into more serious, confrontational stage, it runs into trouble.

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.

Janet Maslin said Body Heat was " skillfully, though slavishly, derived " from 1940's film noir classics ; Maslin wrote " Mr. Hurt does a wonderful job of bringing Ned to life " but was not impressed by Miss Turner:

Janet Maslin of The New York Times said the film was " stunning ", and gave it four out of four stars.

Janet Maslin, in her 1983 review of the film for The New York Times, called it " part satire, part would-be suburban poetry and part shameless showing off " and said the film " shows an abundance of style ", though " you would be hard pressed to find a film whose hero's problems are of less concern to the world at large.

" Children are sure to be startled by the film's bleakness ," said The New York Timess Janet Maslin.

" Maslin said the film " often verges on silliness and desperately overworks the symbolic importance of snakes.

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 her review in The New York Times, Janet Maslin said, " Even when it becomes unmistakably lightweight, Mighty Aphrodite remains witty, agile and handsomely made.

Reviewing the novel for the New York Times in 1991, Janet Maslin said the book was a " stunningly uneventful 823-page holding action.

Janet Maslin, reviewing the ceremony for The New York Times, said the ceremony " emphasiz the low-gloss aspects of today's Hollywood "— a lack of gloss made particularly evident by the appearance of presenters Gregory Peck and Audrey Hepburn, who stood out like " visiting royalty ".

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 ".

Janet Maslin of The New York Times commended the " thoughtfulness of Yakin's direction " and wrote that he " doesn't include many violent episodes in this film, but the ones he stages are made so meaningful that their impact is brutalizingly intense.

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.

Janet Maslin of the New York Times admiringly called the film " captivating documentary, a film that serves as an eloquent coda to their unforgettable creative partnership .".

" 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.

Janet Maslin, having seen the film at the New York Film Festival, made it a " NYT Critics ' Pick ," calling it " dazzlingly surreal " rock version of " Citizen Kane with an extraterrestrial Rosebud " and saying it " brilliantly reimagines the glam-rock 70's as a brave new world of electrifying theatricality and sexual possibility, to the point where identifying precise figures in this neo-psychedelic landscape is almost beside the point.

Given Broyard's stature in the literary world and discussions about his life after his death, numerous literary critics, such as Michiko Kakutani, Janet Maslin, Lorrie Moore, Charles Taylor, Touré, and Brent Staples, have made comparisons between the character Coleman Silk in Philip Roth's The Human Stain ( 2000 ) and Broyard.