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 The New York Times, Janet Maslin felt that,

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.

The New York Times critic Janet Maslin felt the film lacked any real plot, failed in its attempt at satire, should have included Myron's only mentioned son and " mostly wasted " Hartman, while Levant's direction was " listless ".

" Maslin felt that the " pointedly whimsical film overworks the fairy-tale aspect of this friendship ( between Devon and Trent )", she concluded that Duigan " does breathe life into a story that rails against conventional wisdom.

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 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.

" 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 ".

" Janet Maslin of The New York Times puts the blame on the writer / director: " As co-written and directed by Michael Gottlieb, Mannequin is a state-of-the-art showcase of perfunctory technique.

" Janet Maslin in the New York Times wrote: " in the skillfully manipulative hands of Garry Marshall, who has directed from a screenplay by Mr. McNally that amounts to a complete revision, Frankie and Johnny has been reshaped into foolproof schmaltz.

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 ".

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.

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.

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 her review for The New York Times, Janet Maslin wrote, " Mr. Hopper finds nice new ways to convey crazy menace with each new role.

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.

" 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.

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

In 1995 there was a made-for-TV film, which was generally well-received, with critics like the New York Times ' Janet Maslin writing that this screen version " gets it exactly right.

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.

Arista Records president Clive Davis teamed the group up with producer Harry Maslin and he went on to produce five top five records in a row.

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.

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 ".

" In her review for the New York Times, Janet Maslin wrote, " Mr. Hopper's direction is tough and stylish, in effective contrast with the sunny look of Ueli Steiger's cinematography.

Janet Maslin wrote that it was " a jumbled but appealing teen-age comedy with something of a fresh perspective on the subject.

" 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.

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.

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.

Janet Maslin in The New York Times says that the film " sustains great visual intensity thanks to Robert Richardson's majestic cinematography " but its " rock-solid values " are diluted by " a misconceived ending ", whereas CNN in a rather sarcastic review complains that the storytelling was " all done very, very slowly " and mentions the film's length.

" The New York Times < nowiki >'</ nowiki > Janet Maslin wrote that the film " has flashes of visual stylishness but virtually no grip on its story ".

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 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.

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 ".

Although Janet Maslin of The New York Times admitted the film's plot was " demented ", she wrote that the film " has done a great deal to ensure the series ' longevity.

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.

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 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.

" 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.

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

*" The Man Behind the Curtain: Political Strategy and Spin ", Janet Maslin, New York Times, June 4, 2007

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.

Roger Ebert found it " surprisingly effective ", whereas Janet Maslin found it followed a " predictable path ".