For 613 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Janet Maslin's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Vertigo
Lowest review score: 0 Gummo
Score distribution:
  1. Negative: 57 out of 613
613 movie reviews
    • 90 Metascore
    • 80 Janet Maslin
    Mr. Assayas's screenplay is loose and uneventful, but his direction has more energy.
    • 64 Metascore
    • 80 Janet Maslin
    The fierce-looking Sean Bean is outstandingly good as Ryan's main antagonist, and Patrick Bergin brings the right air of calculation to the terrorist mastermind he plays. Several of the film's main sequences, like an encounter between Mr. Bean's Sean Miller and David Threlfall as the police inspector who has been his captor, derive their horror from the looks of pure loathing that these terrorists bestow upon their prey.
    • 61 Metascore
    • 80 Janet Maslin
    Charlie Sheen brings just the right exaggerated seriousness to his ace pilot's role, and Cary Elwes perfectly captures the ingenue arrogance of Topper's handsome rival. Jon Cryer, as a pilot with major eyesight problems, also displays expert deadpan timing, especially when he delivers the film's most uproarious line.
    • 54 Metascore
    • 70 Janet Maslin
    This feature-length concert film is hilarious, putting Mr. Murphy on a par with Mr. Pryor at his best.
    • 52 Metascore
    • 60 Janet Maslin
    Though Three Amigos is the kind of skin-deep contemporary comedy that assembles its stars and then just coasts, it's friendlier than most. And it contains a few elements that are destined for immortality.
    • 72 Metascore
    • 60 Janet Maslin
    The forcefulness and mystery of Mr. Melville's direction often generate an urgency that keeps the film from feeling vague. [30 Nov. 1979]
    • 61 Metascore
    • 70 Janet Maslin
    Three Men and a Baby follows the French film as faithfully as it possibly can, and it too revolves around one lone idea: that there's humor in the spectacle of a grown man, heretofore ignorant of his own gentler nature, discovering that he can indeed administer formula and change diapers. The hilarity inherent in this has its limits, but it's a premise with enough timeliness and warmth to account for the first film's success. And in terms of success, this glossier, more effervescent remake will undoubtedly outstrip the original.
    • 44 Metascore
    • 40 Janet Maslin
    In Who's Harry Crumb? Mr. Candy has a varied role, a good supporting cast, a script full of comic setups and every imaginable opportunity to shine. But the result is little more than a weak comedy, one that suggests Mr. Candy is potentially a great deal better than his material.
    • 80 Metascore
    • 70 Janet Maslin
    despite such maladroit moments, The Last Temptation of Christ finally exerts enormous power. What emerges most memorably is its sense of absolute conviction, never more palpable than in the final fantasy sequence that removes Jesus from the cross and creates for him the life of an ordinary man.
    • 71 Metascore
    • 90 Janet Maslin
    A deeply felt, deceptively simple film that marks the high point of Mr. Eastwood's directing career thus far.
    • 43 Metascore
    • 30 Janet Maslin
    Though this is by no means the grisliest or most witless film made from one of Mr. King's horrific fantasies, it can lay claim to being the most unpleasant. Why? Because when you strip away the suspenseful buildup to a King story, you're often left with mechanical moralizing and crude, sophomoric small talk. Needful Things has more of both than any film could ever need.
    • 60 Metascore
    • 70 Janet Maslin
    Mr. Dalton, the latest successor to the role of James Bond, is well equipped for his new responsibilities.
    • 70 Metascore
    • 80 Janet Maslin
    A warm, surprising, gently incandescent film that discreetly describes a family tragedy.
    • 71 Metascore
    • 80 Janet Maslin
    Splash could have been shorter, but it probably couldn't have been much sweeter. Only purists will quibble with the blissfully happy ending, which has the lovers swimming through a shimmering underwater paradise that is supposed to be the bottom of the East River.
    • 71 Metascore
    • 60 Janet Maslin
    Married to the Mob works best as a wildly overdecorated screwball farce.
    • 81 Metascore
    • 90 Janet Maslin
    Wonderfully funny behind-the-scenes look at the perils of film making, no-budget style.
    • 64 Metascore
    • 50 Janet Maslin
    Once Bitten affects a glossy, sophisticated look that does little to upgrade the film's adolescent humor. As directed by Howard Storm, it has a lot more stylishness than wit. Miss Hutton looks great in black, but her predatory vampire grows tiresome very quickly, as do all the Bloody Mary jokes.
    • 60 Metascore
    • 60 Janet Maslin
    It is a great disappointment, halfway into the movie, to find The Star Chamber so far off the track that its credibility almost entirely disappears...The Star Chamber has a well- meaning urgency, and it is an entertaining film even when it becomes so thoroughly misguided.
    • 30 Metascore
    • 50 Janet Maslin
    Mr. Diesel could not have succeeded as a genre-switcher without the proven television talents of the film's able ensemble.
    • 55 Metascore
    • 60 Janet Maslin
    Miss Dunaway gives the uncanny, meticulous Crawford imitation that is at the heart of Mommie Dearest. The movie itself has nothing like the brilliance of the impression, which is why it remains an impression and can't altogether rise to the level of a performance. But on its own terms Miss Dunaway's work here amounts to a small miracle, as one movie queen transforms herself passionately and wholeheartedly into another.
    • 69 Metascore
    • 80 Janet Maslin
    Mr. Eggleston proves the polished granddaddy who, early on, recognized beauty in a garish wasteland. In this accomplished look at a storied career, he instructs - without words - how to see all that is hauntingly familiar.
    • 60 Metascore
    • 70 Janet Maslin
    Tony Scottmdoes his utmost to pump up the audience's adrenaline at all times, which means that the film's big moments - the races, the crashes, the news that someone needs brain surgery - don't seem that different from the small ones.
    • 84 Metascore
    • 50 Janet Maslin
    For all its pretty glimpses of the desert island, the film never offers a clear, overall sense of what the place looks like; neither the camera nor the boy really goes exploring.
    • 74 Metascore
    • 80 Janet Maslin
    Barcelona, like "Metropolitan," indulges in long, hair-splitting discussions without resorting to broad gags or worrying about wearing out its welcome.
    • 60 Metascore
    • 80 Janet Maslin
    A cute, buoyant sports fantasy, jolted along by a reggae soundtrack and playfully acted by an appealing cast. This new Disney comedy is slick, funny and warmhearted, very much in the old-fashioned Disney mode.
    • 58 Metascore
    • 60 Janet Maslin
    The film is in fine shape as long as it revels in its own craziness, making no claims on the viewer's reason. But when it asks you to believe that what you're watching may really be happening, and to wonder what it means, it is asking far too much.
    • 53 Metascore
    • 50 Janet Maslin
    Mr. Marshall does a much better job with the feistier early scenes than with this subsequent mush, so the film does have a good first hour. But by the end, the film goes on much longer than it should. The physical look of Overboard is also surprisingly dreary. Though the yacht scenes have some visual wit, particularly where Miss Hawn's outrageous costumes are concerned, John A. Alonzo's cinematography is conspicuously poor.
    • 60 Metascore
    • 80 Janet Maslin
    Day of the Dead has a less startling setting, since most of it takes place underground. But it still affords Mr. Romero the opportunity for intermittent philosophy and satire, without compromising his reputation as the grisliest guy around.
    • 34 Metascore
    • 30 Janet Maslin
    In the cast are many, many dogs, who are charmed by Damien in a way no audience is likely to be.
    • 50 Metascore
    • 40 Janet Maslin
    Mr. Mom would be funny if it had jokes. That's not so self-evident as it sounds, because it's not a claim that every failed comedy can make. The actors here, Mr. Keaton and Teri Garr, are likable and bright, and the situation has possibilities. Very little is made of them, except for such predictable developments as Jack's going to the supermarket with the kids in tow, and knocking over soup cans and fruit.

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