" Janet Maslin of The New York Times also gave a positive review.

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 ".

" 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.

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 ".

| Janet Bosher gave birth to her twins children Sarah and James in London in September 2002, at the age of 58, after IVF treatment with donated embryos, her partner Martin Maslin, also apparently sterile, at the Professor Ian Craft's private clinic.

Janet Maslin called it a " dated detective story " but also wrote, " it achieves a gentle, nostalgic grace and a hint of un-self-conscious wisdom ".

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.

In her review for The New York Times, Janet Maslin praised the performances of Ralph Fiennes and Angela Bassett: " Mr. Fiennes gleefully captures Lenny's sleaziness while also showing there is something about this schlockmeister that is worth saving, despite much evidence to the contrary.

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 of The New York Times praised the casting of Barton and Rockwell " it also shows off a poised young actress and a leading man with charisma to burn.

In The New York Times, Janet Maslin also lauded the film, writing, " Mr. Tamahori, who gives Mulholland Falls a smashing, insidious L. A .- noir style meant to recall Chinatown, along with a high-testosterone swagger that is distinctively his own.

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.

Chayefsky later withdrew his name from the project ; film critic Janet Maslin, in her review of the film, thought it " easy to guess why ":

Janet Maslin, writing in The New York Times, was broadly praising of the film, saying she thought that Never Say Never Again " has noticeably more humor and character than the Bond films usually provide.

Janet Maslin called the film " pleasant enough " with " mild " jokes that " revolving around things such as Mr. Cryer's accidentally giving tax advice to the father of a teen-age girl he's dating, or his feeling out of place at the roller rink "; she thought the film's coda suggests that " Mr. Cryer could have unexpected charm in more adult roles.

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.

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

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 ".

The New York Times highly recommended the film, and reviewer Janet Maslin wrote " This hilarious, good-hearted spiritual descendant of The Producers is a comic coup for Mr. Martin.

" Maslin added that Morton " provides a credible portrait extrapolated from the actor ’ s on-the-record remarks and highly visible public behavior.

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.

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.

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 of The New York Times cited that his first film " relegates him to a drab role.

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 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 ".

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 ".

" 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.

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 ".

In this role, critic Janet Maslin called him a " large and amusingly sullen teen-ager " in the role.

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 ".

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.

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

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.

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 of The New York Times wrote negatively of the film and stated that the beginning of the movie " is the only part of the film that is remotely engaging.

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.

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.

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 ".

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 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 in The New York Times, Janet Maslin wrote, " Genuine fairy tales are rare ; so is film-making that is thoroughly original in an unobtrusive way.

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.

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 ".

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.

Janet Maslin of The New York Times wrote, " True Romance, a vibrant, grisly, gleefully amoral road movie directed by Tony Scott and dominated by the machismo of Quentin Tarantino ( who wrote this screenplay before he directed Reservoir Dogs ), is sure to offend a good-sized segment of the moviegoing population.