It was described by Bosley Crowther as, " whoop-de-doo ... one of the finest ever put on the screen.

The film was a success, and The New York Times Bosley Crowther singled its star out for praise: " It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film.

Influential reviewer Bosley Crowther of The New York Times wrote that " Nancy Davis delightful as gentle, plain, and understanding wife.

The New York Times film critic Bosley Crowther, while dismissing the movie as " an average gangster film ", singled out Falk's " amusingly vicious performance.

** Bosley Crowther, American film critic ( b. 1905 )

New York Times film critic Bosley Crowther lauded the acting in the drama, and wrote, " Mr. Dmytryk has handled most excellently a superlative cast which plays the drama.

In 1952, Bosley Crowther called The Greatest Show on Earth a " lusty triumph of circus showmanship and movie skill " and a " piece of entertainment that will delight movie audiences for years ":

Shortly after its premiere at the Astor Theater, New York, Bosley Crowther, film critic for The New York Times, hailed the film as a masterpiece.

Time magazine drew attention to the film's wooden acting, especially on the part of Eastwood, though a few critics such as Vincent Canby and Bosley Crowther of The New York Times praised Eastwood's coolness in playing the tall, lone stranger.

Bosley Crowther wrote in The New York Times, " all a fairly respectful admirer of movies can do is laugh at it and turn away ".

Film critic Bosley Crowther wrote, " Mr. Tracy and Miss Hepburn are the stellar performers in this show and their perfect compatibility in comic capers is delightful to see.

" Bosley Crowther called the film " wonderful ", and declared, " As a father, torn by jealousy, devotion, pride and righteous wrath, Mr. Tracy is tops.

Bosley Crowther for one wrote in The New York Times, " More and more, Walt Disney's craftsmen have been loading their feature films with so-called ' live action ' in place of their animated whimsies of the past, and by just those proportions has the magic of these Disney films decreased ," citing the ratio of live action to animation at two to one, concluding that is " approximately the ratio of its mediocrity to its charm.

New York Times ’ Bosley Crowther, mentioned above, made a similar assumption, writing that the movie was a " travesty on the antebellum South.

" On the other hand, Bosley Crowther of the New York Times declared that Forever and a Day boasted " superb performances ".

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.

The film received poor reviews and was described by Bosley Crowther as " a distressingly empty piece "; but, with a profit of $ 2. 5 million, it was one of her biggest box-office successes.

The film was later described by Bosley Crowther as " interminable "; and he noted that " of all the miserable dilemmas in which Miss Davis has been involved ... this one is probably the worst ".

Bosley Crowther of The New York Times was so appalled that he began to campaign against the increasing brutality of American films.

This 2009 documentary film chronicles what occurred as a result: the New York Times fired Bosley Crowther because his negative review seemed so out of touch with the public, and Pauline Kael, who wrote a lengthy freelance essay in The New Yorker in praise of the film, became the magazine's new staff critic.

* Bosley Crowther ’ s original review, the New York Times, 14 April 1967, and his follow-up of 3 September 1967.

* Review by Bosley Crowther in New York Times ( 1942 )

" Bosley Crowther of The New York Times called it " tepid entertainment.

Among those at the film's premiere was film critic Bosley Crowther of The New York Times, who noted that " motion history was made last night ... Fantasia dumps conventional formulas overboard and reveals the scope of films for imaginative excursion ... Fantasia ... is simply terrific.

Bosley Crowther was not so kind to Dangerous to Know ( 1938 ), which he called a " second-rate melodrama, hardly worthy of the talents of its generally capable cast ".

New York Times film critic Bosley Crowther panned Kings Row, which he described as being as " gloomy and ponderous " as the novel upon which it was based.

Bosley Crowther of the New York Times panned the film observing, " This is a slick and shallow picture that Mr. Preminger puts forth here, a straight, cliché-crowded melodrama of naval action in the Pacific in World War II ..." and characterized it as " a film that is virtually awash with flimsy and flamboyant fellows with all the tricks of the trade of Hollywood.

Although Bosley Crowther panned the film in the New York Times of August 2, 1956, ( calling it a " dismal tale ") Lawrence Quirk in Motion Picture Herald and William Zinsser in the New York Herald Tribune commented favorably upon the film.

Critic Bosley Crowther was not impressed with the atmospherics of the film and panned the film due to its screenplay, writing, " We wish we could recommend it as a perfect combination of the styles of the eminent Mr. Hitchcock and the old German psychological films, for that is plainly and precisely what it tries very hard to be.

When the film was released, The New York Times film critic Bosley Crowther, panned the film, " But this, of course, is a movie — and a pretty low-grade one, at that — in which sensations of fright and excitement are more diligently pursued than common sense ... Except for the usual moral — to wit, that crime does not pay — the only thing proved by this picture is that you shouldn't switch sweethearts in mid-lam.

Bosley Crowther, film critic for The New York Times, panned the film, especially the screenplay and direction of the drama, and wrote, " Since Pat O ' Brien's noggin suffers a blow which blacks out his memory as the story starts, there probably wouldn't be much sense taking the authors to task for the fantastic events which ensue ... This explosive and promising action sets in motion a chain of circumstances which, no doubt, must have baffled the script writers, too, for they never do give it a logical explanation ... All of the aforementioned principals turn in competent performances, and the mystery is how they managed to get through the picture without becoming hopelessly confused.

The New York Times film critic, Bosley Crowther, panned the film, writing " Although Mr. Endfield has directed the violent climatic scenes with a great deal of sharp visualization of mass hysteria and heat, conveying a grim impression of the nastiness of a mob, he has filmed the rest of the picture in a conventional melodramatic style.

Bosley Crowther of The New York Times and Howard Barnes of the New York Herald Tribune both panned the film with Crowther commenting, " A more artificial lot of acting could hardly be achieved ," and Barnes stating, " the theme is shabby and the incidents too violent for complete plausibility.

Although Frank Capra cast Raymond Massey in the 1944 film, which was shot in 1941, while Karloff was still appearing in the role on Broadway, Karloff reprised the role on television with Tony Randall and Tom Bosley in a 1962 production on the Hallmark Hall of Fame.

Bosley Crowther, the film critic for The New York Times, liked the film: " But for all its unpleasant nature, it must be said that this film is a dynamic crime-and-punishment drama, brilliantly and broadly realized.

In his review in the New York Times, Bosley Crowther said the film " crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale " and added, " Mr. Wyler.

After The Lady Eve premiered at the Rialto, The New York Times reviewer, Bosley Crowther characterized the film as " a sparkling romantic comedy.

The Living Desert received some criticism for bringing unsubtle humor to its scenes of desert life – Bosley Crowther of The New York Times called Disney to task for adding jokey musical effects to several of the film ’ s scenes, including hoedown music for a sequence involving a scorpion battle.

" The film is a New York Times Critics ' Pick: after seeing it at the Astor Theatre, Bosley Crowther called it a " a warm and beguiling picturization based on Sally Benson's memoirs of her folks.

Bosley Crowther wrote in the New York Times:

New York Times critic Bosley Crowther loved the film, stating that " Hitchcock could raise more goose pimples to the square inch of a customer's flesh than any other director in Hollywood ".