Critic Vincent Canby in his negative New York Times review on May 8, 1981 opined, " he film's one bright spot is Barbara Harris, who plays Dinette as sincerely as possible under awful conditions.

Critic Steve Huey of Allmusic writes that the album's influence " was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point.

Critic Johnny Loftus writes, " Rock critics usually reserve a special place for Deftones above or at least away from the rest of the turn-of-the-century metal movement Deftones have always seemed more curious, more willing to incorporate traditionally revered sounds like D. C. hardcore and dream pop into their Northern California alt-metal.

Critic Emerson Dameron writes that the song is " one of the most terrifying, riveting, absurd things I ’ ve ever heard.

Critic Mark Demming writes " Quine's eclectic style embraced influences from jazz, rock, and blues players of all stripes, and his thoughtful technique and uncompromising approach led to rewarding collaborations with a number of visionary musicians.

Critic Jack Sullivan has kinder words for Tiomkin's score for Strangers than does biographer Spoto: " o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards ", he writes It is a score that " goes largely uncelebrated.

Critic Peter Craven writes that " Two Friends is arguably the most accomplished piece of screenwriting the country has seen and it is characterised by a total lack of condescension towards the teenage girls at its centre ".

" Critic Adam Strohm writes that she " founded a new world for the instrument, taking it far beyond backing rhythms and robotic fills.

) 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.

Critic John Eyles writes, " Just as such labels as Blue Note, ECM, and Incus have captured and defined the zeitgeist at various points in the past, Erstwhile is now doing so.

Critic Steve Huey writes, " rampant eclecticism encompasses everything from heavy metal and punk to funk, R & B and avant-garde jazz, and his anarchic, lightning-fast solos have become something of a hallmark as well.

Critic / novelist Jonathan Barnes writes of encountering the story as a child and finding it " one of the richest and most singular investigations of Holmes ’ s long career – an opinion which I have had no reason to change ... Revisited in adulthood, the story reveals itself as a sour parable about the endurance of lust, a lurid treatment of the question that is put to Falstaff as Doll Tearsheet fidgets on his knee: ' is it not strange that desire should so many years outlive performance ?'.

Critic Joslyn Layne writes that " Despite his lack of success as a song lyricist, McGregor's narration of his vivid dreamlife provided a more unique artistic contribution than any usually recorded.

As Critic Walter Kerr points out: `` Adaptations, so long as they are good, still qualify as creative ''.

Critic Henry Prunières wrote, “ From the opening measures, we are plunged into a world in which Ravel has but rarely introduced us .”

Critic David Hurwitz offers an alternative explanation for the piece's structure: that " Jupiter " is the centrepoint of the suite and that the movements on either side are in mirror images.

Critic Adam Roberts said of the novel: “ It is really quite hard to respond to this masterful book, except by engaging with its political content ; and yet we need to make the effort to see past the ideological to the formal and thematic if we are fully to appreciate the splendour of Heinlein's achievement here .”

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, Stephen Erlewine of AllMusic wrote that Dion's vocals " are back at top of their game " and that she was " getting back to pop basics and performing at a level unheard in a while.

Critic Carmen Birkle wrote: " Her multicultural self is thus reflected in a multicultural text, in multi-genres, in which the individual cultures are no longer separate and autonomous entities but melt into a larger whole without losing their individual importance ".

Critic William Burrill dismissed the game's visuals as " Dim Boy graphics are nothing to write home about ".

Critic Zack Handlen remarked, " This is still early Dick, which means that while interesting concepts are introduced, and there ’ s some play with identity -- Jennings develops an overwhelming faith in the prescience of his past self, a faith which most people can ’ t ever have in their present versions, and by the end he ’ s even referring to that past guy as a separate person -- the primary focus is nabbing you and keeping you entertained.

" Critic Janet Maslin wrote of Terence Stamp's work, " Stamp plays the title role furiously, with single-minded intensity, wild blue eyes and a stentorian roar shown off in the film's early moments ... Glimpses of young, dreamily beautiful Stamp and his no less imposing latter-day presence are used by Soderbergh with touching efficacy.

Critic Eleanor Ringel Gillespie of the Atlanta Journal-Constitution concluded that " There are more challenging movies around.

Critic Luke Y. Thompson of The New Times stated that " defenders of the film have argued that it's actually pro-woman, due to the fact that the female lead wins in the end, which is sort of like saying that cockfights are pro-rooster because there's always one left standing ".

Critic Alexei Korotyukov remarked: " Paradjanov made films not about how things are, but how they would have been had he been God.

Critic Janet Maslin was dismissive of the film, and wrote, " Today, in the dazzling, superficial style that Mr. Friedkin has so thoroughly mastered, it's the car chases and shootouts and eye-catching settings that are truly the heart of the matter ".

Critic Vincent Leo praised Penn's performance, noting, " While Oldman gets the accolades for his energetic performance, it is really Penn's inner demons that provides the film with the right amount of conflict, always letting us be aware that fine lines are the difference between life and death, as well as right and wrong, out in the streets of New York.

Critic Roger Ebert gave the movie three stars out of four, saying " Gibson gives an interesting performance, showing a man trying to think his way out of a crisis, and Sinise makes a good foil: Here are two smart men playing a game with deadly stakes.

" Top Critic Roger Ebert went further, saying of the film " In a genre where a lot of movies are retreads of the predictable, ' Deep Blue Sea ' keeps you guessing.

Critic Roger Ebert wrote in the Chicago Sun-Times: " The film is a masterful achievement on all the technical levels -- it does an especially good job of convincing us with its Asian locations -- but the best moments are the human ones, the conversations, the exchanges of trust, the waiting around, the sudden fear, the quick bursts of violence, the desperation.

Critic Roger Ebert said that " Pedro Almodóvar's films are an acquired taste, and with High Heels I am at last beginning to acquire it.

Critic Richard Skorman wrote, " Forsyth does a good job of making light of the tender part in teenage psyche, and his friends and little sister in particular are quirky and lovable.

* Maneker, Marion, " The King James Version: Critic James Wolcott, the reigning monarch of the literary put-down, is about to publish his first novel, and legions of his victims are already sharpening their knives ", New York magazine, June 11, 2001

Critic Adrian Denning, in his review of the album, compliments, " Both the vocals and guitar are utterly beautiful.

They are Natasha and Crispin Critic, two high brow art critics from London.

Critic Anne Midgette of the New York Times has noted that Argento's operas tend to be very well received upon their premieres, but they lack an " easy popular hook " and are rarely revived.

Critic Leonard Maltin labeled Hawks " the greatest American director who is not a household name ," noting that, while his work may not be as well known as Ford, Welles, or DeMille, he is no less a talented filmmaker.

Critic Danél Griffin remarked, " Romero freely admits that his film was a direct rip-off of Matheson's novel ; I would be a little less harsh in my description and say that Romero merely expanded the author's ideas with deviations so completely original that of the Living Dead is expelled from being labeled a true ' rip-off '".

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 Joshua Klein said that " the emphasis this time sounds less on unfocused experimentation and more on melody ... a breezy and welcome return to form for the British band.

" As an exegete and biblical Critic no less than as a grammarian he has left his abiding mark.

Critic Roger Ebert reviewed Deep Throat in an early 1973 column, giving it a no-stars rating and writing, " It is all very well and good for Linda Lovelace, the star of the movie, to advocate sexual freedom ; but the energy she brings to her role is less awesome than discouraging.

" Critic Peter Bradshaw's review of the film in The Guardian concludes that Meet the Parents " is somehow less than the sum of its parts.

The British Critic less stridently criticised lack of balance and confusion in volume 1.

Critic Leonard Maltin gave the film three and a half stars out of four and compared it to Dr. Mabuse The Gambler stating that it is " less stylized but no less entertaining ".

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 Robert Christgau called " What a Girl Wants " " clever " adding " but in a far less ingratiating way ", comparing the track to a " two hour promotional video " of Aguilera.

She had to her credit not less than five Broadway productions: Uncle Vanya and The Critic in 1946, The Matchmaker in 1955-57, The House of Atreus in 1968, and The Misanthrope in 1975.