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Janet Maslin

Film Critic

United States

Before and After (1996)

Publish Date: February 23, 2021
"Schroeder's detached directorial style doesn't suit the film's strained home and hearth scenes."

The New York Times
Fright Night (1985)

Publish Date: August 2, 2020
"Its tone is never exactly comedic and its horrific touches are more disgusting than scary."

The New York Times
Twister (1996)

Publish Date: May 10, 2020
"Jan de Bont, who directed 'Speed', sustains that film's breakneck tempo while also summoning as many echoes of the Steven Spielberg cosmic adventure style as he possibly can."

The New York Times
The House of the Spirits (1993)

Publish Date: April 1, 2020
"A handsome, ravishing film filled with understated miracles"

The New York Times
Ghost (1990)

Publish Date: July 13, 2019
"'Ghost' is too slow moving at times, and a few of its special effects look incongruously silly"

The New York Times
Hana-bi (1997)

Publish Date: September 27, 2018
"Meticulously handsome, imaginatively edited 'Hana-Bi,', which shows off both [Kitano's] fierce and gentle talents"

The New York Times
Hard Target (1993)

Publish Date: August 20, 2018
"Woo's film remains overwhelmingly violent and not always stylish enough to give its excesses the appearance of wit."

The New York Times
Leaving Las Vegas (1995)

Publish Date: February 13, 2009
"A small, searing film (...) a character study, pitilessly well observed and intimately familiar with its terrain. (...) 'Leaving Las Vegas' is far less dolorous than might be expected. Passionate and furiously alive"

The New York Times
Welcome to the Dollhouse (1995)

Publish Date: March 22, 2006
"'Welcome to the Dollhouse' displays wrenching emotional acuity beneath a veneer of devilishly funny surface details"

The New York Times
Angela's Ashes (1999)

Publish Date: December 24, 1999
"[It] isn't wrenching enough to do it justice. The family's suffering, like the carefully mottled paint on supposedly run-down walls, is curiously unreal.

The New York Times
The Talented Mr. Ripley (1999)

Publish Date: December 24, 1999
"'The Talented Mr. Ripley' offers diabolically smart surprises (...) a scenic, voluptuously beautiful film that has a traffic-stopping cast"

The New York Times
Man on the Moon (1999)

Publish Date: December 22, 1999
"A surprisingly straightforward show business rise-and-fall story (...) it limits the film's ability to give Kaufman three dimensions"

The New York Times
Topsy-Turvy (1999)

Publish Date: December 17, 1999
"'There's something inherently disappointing about success,' [Gilbert] insists. Leigh's 'Topsy-Turvy' is delightful proof to the contrary."

The New York Times
The Green Mile (1999)

Publish Date: December 10, 1999
"It's a film with a counterproductive tendency to take its time (...) Unassumingly strong, moving performances and Mr. Darabont's durable storytelling make it a trip worth taking just the same."

The New York Times
A Map of the World (1999)

Publish Date: December 3, 1999
"[It] is Ms. Weaver's movie, and she dominates virtually every scene (...) With the film's emotional progress somewhat vague, these secondary performances are left to pick up slack."

The New York Times
The End of the Affair (1999)

Publish Date: December 3, 1999
"The best and most graceful Greene adaptation since 'The Third Man.' (...) Jordan underscores the inviting eclecticism of his own interests and the welcome fearlessness with which he pursues them."

The New York Times
Toy Story 2 (1999)

Publish Date: November 24, 1999
"'Toy Story 2' can be enjoyed -- enormously -- without wondering exactly why the Pixar animation looks even better than it did the first time."

The New York Times
End of Days (1999)

Publish Date: November 24, 1999
"[It] is as incoherent about its mysticism as it is about anything else"

The New York Times
Sleepy Hollow (1999)

Publish Date: November 19, 1999
"History will recognize the rich imagination and secret tenderness of Burton's best films"

The New York Times
The Messenger: The Story of Joan of Arc (1999)

Publish Date: November 12, 1999
"Though Ms. Jovovich's performance dominates the film, she remains pedestrian and underwhelming, with leadership abilities that are noticeably dubious."

The New York Times

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