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, 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 ".

Bosley Crowther of The New York Times praised it highly, calling it, " an absorbing and gratifying emotional drama of the highest sort ".

New York Times critic Bosley Crowther praised the film's conception, acting and color scheme, noting the design team " consciously made the flow of color and the interplay of compositions and hues the most forceful devices for conveying a motion picture comprehension of van Gogh.

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.

Writing in The New York Times, Bosley Crowther praised the film, writing " Mr. Hecht has written and Mr. Hitchcock has directed in brilliant style a romantic melodrama which is just about as thrilling as they come — velvet smooth in dramatic action, sharp and sure in its characters and heavily charged with the intensity of warm emotional appeal.

The New York Times film critic Bosley Crowther praised Fellini ’ s “ brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary on the tragedy of the over-civilized … Fellini is nothing if not fertile, fierce and urbane in calculating the social scene around him and packing it onto the screen.

The New York Times movie reviewer Bosley Crowther praised Ford's " stamina and poise in a thankless role " despite the movie's poor direction.

The New York Times film critic Bosley Crowther praised the " gripping suspense, absorbing drama and stinging social comment in this film.

When issued in the United States, film critic for The New York Times, Bosley Crowther, hailed the simple tale and praised director Lamorisse, and wrote, " Yet with the sensitive cooperation of his own beguiling son and with the gray-blue atmosphere of an old Paris quarter as the background for the shiny balloon, he has got here a tender, humorous drama of the ingenuousness of a child and, indeed, a poignant symbolization of dreams and the cruelty of those who puncture them.

Bosley Crowther's New York Times 1949 review praised the actors but noted, " But it isn't all right with this picture.