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Janet Maslin

Film Critic

United States

The Crucible (1996)

Publish Date: November 27, 1996
"It is precisely by leaving Arthur Miller's 1953 play so emphatically in the Salem, Mass., of 1692 that Mr. Hytner's vibrant screen version succeeds so well in transcending time and place. (...) Handsome and impassioned, vigorously staged"

The New York Times
Jingle All the Way (1996)

Publish Date: November 22, 1996
"This schlocky, sluggish comedy features Arnold Schwarzenegger in madcap mode"

The New York Times
Shine (1996)

Publish Date: November 22, 1996
"Hicks's direction has an elegance and dignity that rescue 'Shine' from the exploitative and give the film an acute, genuinely sensitive style"

The New York Times
The English Patient (1996)

Publish Date: November 15, 1996
"A stunning feat of literary adaptation as well as a purely cinematic triumph."

The New York Times
The Mirror Has Two Faces (1996)

Publish Date: November 15, 1996
"This material might even have worked if reality had been allowed to intrude. But Greg is left one-dimensional and unexplained"

The New York Times
Ransom (1996)

Publish Date: November 8, 1996
"A spellbinding crime tale that delivers surprises right down to the wire"

The New York Times
The Funeral (1996)

Publish Date: November 1, 1996
"Hot-blooded, broodingly well-acted new gangster film (...) [Ferrara] still finds sharp new ways to explore the nuances of a trite-sounding story."

The New York Times
Romeo + Juliet (1996)

Publish Date: November 1, 1996
"It's as exhausting as it is bold (...) a visual universe fully in tune with the characters' ageless passions."

The New York Times
Swingers (1996)

Publish Date: October 18, 1996
"Irresistible"

The New York Times
Underground (1995)

Publish Date: October 12, 1996
"[A] feverish, whimsical allegory elevated by moments of brilliant clarity (...) 'Underground' ends magnificently"

The New York Times
The Ghost and the Darkness (1996)

Publish Date: October 11, 1996
"Is the rare Hollywood action-adventure that becomes more surprising and exotic as it moves along. While it begins on an unpromisingly starchy note, the film soon picks up speed, color and nicely nonchalant humor"

The New York Times
The Long Kiss GoodNight (1996)

Publish Date: October 11, 1996
"Black's screenplay is mean-spirited, but it earns its keep with sharp, sarcastic dialogue and ingenious ways of setting up this story."

The New York Times
Vertigo (1958)

Publish Date: October 4, 1996
"With less playfulness and much more overt libido than other Hitchcock classics, 'Vertigo' was always anomalous"

The New York Times
Jack (1996)

Publish Date: August 9, 1996
"While 'Jack' has the egregious earmarks of a tritely inspirational story, it also has some unexpected flashes of real emotion"

The New York Times
Basquiat (1996)

Publish Date: August 9, 1996
"Bold, attention-getting and more than a little facile, a stylish-looking film without the connective tissue to give it real depth"

The New York Times
Matilda (1996)

Publish Date: August 2, 1996
"'Matilda'' makes too perverse a tale for very young children. That's been true of every Dahl book to reach the screen (...) But this one has playful flamboyance and a dark verve that older children should appreciate."

The New York Times
Trainspotting (1996)

Publish Date: July 19, 1996
"The stylish irreverence of "Trainspotting" mimics that drug high and delivers its own potent kick"

The New York Times
The Frighteners (1996)

Publish Date: July 19, 1996
"A technically impressive horror-comedy-romance in desperate need of a story editor or a cold shower."

The New York Times
Multiplicity (1996)

Publish Date: July 17, 1996
"'Multiplicity' weaves such an uninteresting plot around its bland, generic principals that it rarely reaches the absurdist heights its premise demands."

The New York Times
Courage Under Fire (1996)

Publish Date: July 12, 1996
"The leanest and most gripping of Mr. Zwick's feature films (...) if only because it plays so skillfully by familiar rules."

The New York Times

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