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Critic and author
Critic and author Eddie Muller wrote, " Joseph H. Lewis's direction is propulsive, possessed of a confident, vigorous simplicity that all the frantic editing and visual pyrotechnics of the filmmaking progeny never quite surpassed.
* Michael Billington – Critic, author and radio presenter.
" Critic Rufus Wilmot Griswold reviewed Leaves of Grass in the November 10, 1855, issue of The Criterion, calling it " a mass of stupid filth " and categorized its author as a filthy free lover.
He was the author of The Rehearsal, an amusing and clever satire on the heroic drama and especially on Dryden's The Conquest of Granada ( first performed on 7 December 1671, at the Theatre Royal, and first published in 1672 ), a deservedly popular play which was imitated by Henry Fielding in Tom Thumb the Great, and by Sheridan in The Critic.
* November 13, 1965 – Critic and author Kenneth Tynan became the first person to say the word " fuck " on British television on the live satirical programme BBC-3 while commenting on censorship during a TV debate.
) Critic and author John Clute writes that "… his early stories and novels display considerable intellectual complexity, and do not shirk the downbeat implications of their anthropological treatment of aliens and alienating milieux …" In his major essay on these early novels, author Ian Watson writes " Michael Bishop is both an exoticist and a moralist.
" Critic Richard Delap writes " There is an abundance of exploitable elements in Bishop's story, so it is astonishing to see how the author keeps them under strict rein, always with a highly keyed visual sense but also with a literary flair that says more by implication than by direct description.
At the August 2008 conference of the American Association of Wine Economists in Portland, Oregon, a hoax exposé submission of the fictitious restaurant Osteria L ’ Intrepido was revealed by the author and Fearless Critic founder Robin Goldstein: he had won an Award of Excellence for a restaurant that didn't exist and whose " reserve wine list " was full of the lowest-rated Italian wines in history.
Yale ’ s The New Englander while complimenting Emerson's abilities, criticized the book as depicting “ a universe bereft of its God ” and described its author as writing “ with the air of a man who is accustomed to be looked up to with admiring and unquestioning deference .” Littell's Living Age found the book to contain the “ weakest kind of commonplace elaborately thrown into unintelligible shapes ” and claimed it to read in parts like an “ emasculate passage of Walt Whitman .” Others were no less critical, proclaiming that Emerson “ has come to the end of what he had to say, and is repeating himself ” ( Athenaeum ) or even calling him a “ phrasemonger ” and “ second-hand writer ” ( Critic ).
Critic and author Vijay Nair described her performance as " a masterful interpretation of the modern Draupadi ".
Critic and author Julian Symons places this author as a prominent member of the " Humdrum " school of detective fiction.

Critic and Greg
Critic Greg Prato describes their unusual instrumentation as " a haunting yet intriguing and original sound.

Critic and wrote
Critic William Kuhn argued that much of his fiction can be read as " the memoirs he never wrote ", revealing the inner life of a politician for whom the norms of Victorian public life appeared to represent a social straitjacket – particularly with regard to his allegedly " ambiguous sexuality.
Critic Jon Savage would later say that their singer Ian Curtis wrote " the definitive Northern Gothic statement ".
Critic Alexander Woollcott wrote of Bogart's early work that he " is what is usually and mercifully described as inadequate.
Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise ( Impression, soleil levant ), he gave the artists the name by which they became known.
Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, " The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933.
Critic Billy Altman, whose work has appeared in many publications including Entertainment Weekly and The New York Times, wrote the following for Amazon. com: " One of rock's most overlooked masterpieces, this third album by the L. A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968.
Critic John Clute wrote of M. John Harrison's early writing that it "... reveals its New-Wave provenance in narrative discontinuities and subheads after the fashion of J. G. Ballard ".
Critic Rex Reed wrote, " If you want to see what turns a B movie into a classic [...] don't miss Night of the Living Dead.
Critic Stewart Mason wrote, " Over their brilliant first three albums, Wire expanded the sonic boundaries of not just punk, but rock music in general.
Critic Roger Ebert wrote of Keaton's " extraordinary period from 1920 to 1929, he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies.
Critic Henry Prunières wrote, “ From the opening measures, we are plunged into a world in which Ravel has but rarely introduced us .”
Critic Bosley Crowther, film critic for The New York Times, liked the screenplay, the message of the film, and John Ford's direction, and wrote, " John Ford has truly fashioned a modern Odyssey — a stark and tough-fibered motion picture which tells with lean economy the never-ending story of man's wanderings over the waters of the world in search of peace for his soul ... it is harsh and relentless and only briefly compassionate in its revelation of man's pathetic shortcomings.
Critic Dennis Schwartz appreciated the acting ensemble in the film and wrote, " The film was too stagebound to be effective cinema, but it scores points in its unsentimental portrait of the loser life of the lonely and desperate merchant seamen.
Critic Edward Dannreuther, wrote, in the 1905 edition of The Oxford History of Music, " Mussorgsky, in his vocal efforts, appears wilfully eccentric.
Critic John Krewson lauded the work of Ida Lupino, and wrote, " As a screenwriter and director, Lupino had an eye for the emotional truth hidden within the taboo or mundane, making a series of B-styled pictures which featured sympathetic, honest portrayals of such controversial subjects as unmarried mothers, bigamy, and rape ... in The Hitch-Hiker, arguably Lupino's best film and the only true noir directed by a woman, two utterly average middle-class American men are held at gunpoint and slowly psychologically broken by a serial killer.
Critic Dennis Schwartz wrote, " A remarkable indy classic, made on a shoestring budget by a group of still photographers.
Critic Frederic and Mary Ann Brussat wrote, " Here's a nice little movie about the baby boom generation ... Novelist John Sayles wrote, directed, and edited this movie.
Critic Pare Lorentz wrote, " The Warner brothers have declared war on Germany with this one.
Critic Roger Ebert wrote an article entitled, " Attacks on ' Roger & Me ' completely miss point of film " that defends Moore's manipulation of his film's timeline as an artistic and stylistic choice that has less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a viewpoint using the same methods that satirists have used.
Critic Robert Cantwell wrote in his unpublished memoir Twigs of Folly:
Critic Jerry Renshaw wrote, " A Double Life is an unusually intelligent, literate noir that is a classy departure from the pulpy " B " atmospherics often associated with the genre.
Critic Scott Yanow wrote, " Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh ( and sometimes futuristic ) ideas that put him way ahead of his contemporaries ... Art Tatum's recordings still have the ability to scare modern pianists.
Critic Jason Ankeny wrote, " With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop.

Critic and How
* How to Become a Musical Critic.
* How-To Guides: Examples include " So You Want to Be an Unrecognized Genius ," " How to Be a Clever Film Critic ," and " How to Get into the College of Your Choice.
The book is Praise, Vilification & Sexual Innuendo, or How to Be a Critic: The Selected Writings of John L. Wasserman, 1964-1979.
The Unkindest Cut: How a Hatchet-Man Critic Made His Own $ 7, 000 Movie and Put It All on His Credit Card

Critic and voice
The Black Knight's voice was featured in an episode of the Nostalgia Critic where he reviewed the movie Child's Play.
In the series The Critic, he played the title character of Jay Sherman ( using his regular speaking voice ).
Napier provided the voice for Duke Phillips, the Ted Turner-inspired network owner in the 1990s animated series The Critic.
The election was won by the Progressive Conservatives ; despite her lack of experience, Dombrowsky soon emerged as a prominent voice in the opposition benches, serving as Official Opposition Critic for Community, Family and Children's Services and Deputy House Leader.
For The Simpsons, Keeler has written such episodes as " A Star Is Burns " ( which Matt Groening refused to be credited for, as he was opposed to the idea of The Simpsons crossing over with The Critic ) and " The Principal and the Pauper " ( which many fans -- including series creator Matt Groening and voice actor Harry Shearer -- disliked due to the massive changes in Principal Skinner's backstory ).
" ( Hovis ' voice sounds similar to that of Shackelford, the butler to the Sherman family on The Critic, which LaMarche also portrayed.
Critic Greil Marcus, listing it at # 10 of his Real-Life Rock Top Ten 1979, said, " Singer Tom Gray told his story in a strangled voice, as if he were trying to explain, but instead he laid a curse.
The Stage commented that Shaw was " a delectably wide-eyed Janet ", with Critic Chris High stating " Shaw is delightful as the naive Janet and proves she has far more to offer than anything a reality TV show could ever uncover " and the British Theatre guide stating " A big surprise to me was how outstanding former Hear ' Say popstar Suzanne Shaw was: she is so at home on stage with strong voice and fabulous presence ".

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