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 generally panned the film and commented in the New York Times of February 29, 1956: " The script was obviously written to bring and Mr. Hudson, who made a popular twosome in the Magnificent Obsession, together again.

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 said the film had a " cast of colorful and adroit supporting players, all nonprofessionals " and a " gay but somewhat monotonous musical score "; he called the film " perceptibly contrived when it lingers too long and gets too deeply into the dullness of things mechanical.

Upon its original release, A Face in the Crowd earned somewhat mixed reviews, one of them from Bosley Crowther of The New York Times.

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.

* 1949 review by Bosley Crowther in the New York Times

In his review in The New York Times, Bosley Crowther wrote, " Three Coins in the Fountain is quite clearly a film in which the locale comes first.

Bosley Crowther, The New York Times critic, gave the film a mixed review, He wrote, " But for those who are looking for drama of a firm and incisive sort, Scarlet Street is not likely to furnish a particularly rare experience.

Bosley Crowther of The New York Times gave a highly favorable review and noted that the film " throbs with a rare vitality, and a masterful picture of a nation in revolutionary torment has been got by Director Elia Kazan.

In his review in the New York Times, Bosley Crowther observed, " The ultimate credit for as taut and insinuating a melodrama as has come along this year — a film which extenuates tension like a grim inquisitor's rack — must be given to Mr. Wyler.

Bosley Crowther had only positive things to say in his 1958 review for The New York Times, and praised how the themes were elevated by the cinematography and acting: " the profundities of the ideas are lightened and made flexible by glowing pictorial presentation of action that is interesting and strong.

In his review in the New York Times, Bosley Crowther said the film " should prove irresistible " and added, " Irene Dunne does a beautiful job.

Bosley Crowther, in a " Critics ' Pick " review, called the film a " frank and ferocious social drama that makes the eyes pop and the modest cheek burn "; he had comments on several of the performances:

In his review in The New York Times, Bosley Crowther wrote, " For a first-rate demonstration of the artfulness of a cameraman and the skill at putting together handsome pictures and a strongly sentimental musical score, there is nothing around any better than Claude Lelouch's A Man and a Woman.

Film critic Bosley Crowther gave the film a mixed review, writing, " In telling the picaresque story of a mystery writer on the trail of a Levantine bum whose career of crime in the Balkans has stimulated the writer's awe, the film wallows deeply in discourse and tediously trite flashbacks ... To be sure, the Warner schemists have poured some scabby atmosphere into this film and have been very liberal with the scenery in picturing international haunts and Balkan dives ... This sort of worldly melodrama calls for refinement in cinematic style, but the writing and direction of this picture betray a rather clumsy, conventional approach.

Bosley Crowther, film critic for The New York Times, lauded the film and its message in his review.

In a review published January 6, 1963 in The New York Times by Bosley Crowther, the film was criticised for its " grisly touches " and " gruesome violence ", despite receiving praise for its screenplay with regards to its " sudden twists, shocking gags, eccentric arrangements and occasionally bright and brittle lines " as well as Donen's direction, said to be halfway between a 1930s screwball comedy and North by Northwest by Alfred Hitchcock.

* Film review by Bosley Crowther-New York Times-March 28, 1958

In a contemporary review of a showing of the film at the Little Carnegie theatre at 146 West 57th Street in New York City, published in The New York Times on August 9, 1966, titled " If the Finest Hour Had Failed: Little Carnegie Offers It Happened Here Occupation of England by Nazis Depicted ", Bosley Crowther wrote " The acting by unfamiliar people is beautifully natural and restrained, particularly that of Pauline Murray in the principal role.

Film critic Bosley Crowther of the New York Times stated in a review of the film " An absolute knockout of a movie in the psychological horror line has been accomplished by Roman Polanski in his first English-language film.

* 1965 NYT review by Bosley Crowther

Bosley Crowther of The New York Times gave the film a positive review and wrote: " Stern in its intimations of the terrible consequences of war, this film is a haunting and affecting, as well as a rewarding, drama to have at this time.

Bosley Crowther singled out Crawford's physical bearing for criticism in his New York Times review, stating "... no more femininity comes from her than from the rugged Mr. Heflin in " Shane.

Bosley Crowther wrote a negative review in The New York Times on the film's 1943 release, stating " it is a good, old film, well played and beautifully directed —- but a battered antique, none the less.

Film critic Bosley Crowther gave the film a harsh review based on the screenplay.

Bosley Crowther's review of the film in the New York Times cited William R. Ebersol in the role of Governor John Merwin as one of those who " stand out in a cast that is notable for its authenticity.