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Bosley and Crowther
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 TimesBosley 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 and New
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 and York
Bosley Crowther wrote in the New York Times:

Bosley and 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 and wrote
Film critic Bosley Crowther lauded the film and wrote, " The eminent director, John Ford, is a man who has a way with a Western like nobody in the picture trade.
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 wrote:
New York Times film critic, Bosley Crowther wrote, " is a commanding picture, and it is extremely well played by Mr. Lemmon and Miss Remick, who spare themselves none of the shameful, painful scenes.
Film critic Bosley Crowther liked the film and wrote, "... Miss Hayward plays it superbly, under the consistently sharp direction of Robert Wise, who has shown here a stunning mastery of the staccato realistic style.
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.
Writing in the New York Times a few days after the system premiered, film critic Bosley Crowther wrote:
Upon the film's January 1962 New York City release of a 90-minute version, Bosley Crowther wrote: " The Hidden Fortress is essentially a superficial film and that Kurosawa, for all his talent, is as prone to pot-boiling as anyone else.
Bosley Crowther, film critic for The New York Times, liked the film, the acting, and Hitchcock's direction, and wrote, " With all the skill in presentation for which both gentlemen are famed, David O. Selznick and Alfred Hitchcock have put upon the screen a slick piece of static entertainment in their garrulous The Paradine Case ... Gregory Peck is impressively impassioned as the famous young London barrister who lets his heart, cruelly captured by his client, rule his head.
However, Bosley Crowther in The New York Times wrote: “ The most distracting nonsense is the pop-up of familiar faces in so-called cameo roles, jarring the illusion .” Shana Alexander in Life Magazine stated: “ The pace was so stupefying that I felt not uplifted – but sandbagged !” And John Simon – later notorious as the frequently scathing theater and film critic of New York Magazine – wrote in the National Review: " God is unlucky in The Greatest Story Ever Told.
Bosley Crowther of The New York Times wrote " The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it.
Upon its release in 1940, The New York Times film critic, Bosley Crowther, called the film pretentious and derivative of French and Russian films, and wrote, " John McGuire and Margaret Tallichet, as the reporter and his girl, are permitted to act half-way normal, it is true.
Critic Bosley Crowther liked the acting in the picture, and wrote, " As gangster pictures go, this one has everything — speed, excitement, suspense and that ennobling suggestion of futility which makes for irony and pity.
Upon the film's release, Bosley Crowther wrote " it is hard to remember a picture — not excluding Henry V, Ivanhoe, Helen of Troy and, naturally, Ben-Hur — in which scenery and regal rites and warfare have been so magnificently assembled and photographed as they are in this dazzler ... The pure graphic structure of the pictures, the imposing arrangement of the scenes, the dynamic flow of the action against strong backgrounds, all photographed with the 70-mm.

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