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.

Critic Bosley Crowther noted that its " striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word.

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.

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.

Frank Beaver wrote in Bosley Crowther: Social Critic of the Film, 1940-1967 that Crowther opposed displays of patriotism in films and believed that a movie producer " should balance his political attitudes even in the uncertain times of the 1940s and 1950s, during the House Un-American Activities Committee.

* Bosley Crowther: Social Critic of the Film, 1940-1967 by Frank Eugene Beaver, Ayer Publishing, 1974.

Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise ( Impression, soleil levant ), he gave the artists the name by which they became known.

In the late 1940s and early 1950s, Stone's role as Chief Design Critic and Associate Professor of Architecture at the Yale University School of Architecture gave him the opportunity to recruit many skilled young staff members for his office.

Critic Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.

He gave assistance to William Beloe in one or two articles in the British Critic, and probably wrote also in the Analytical Review and the Critical Review.

Theatre review aggregator Curtain Critic gave the production a score of 63 out of 100 based on the opinions of 18 critics.

Critic Ed Naha, writing in Crawdaddy !, gave the album a negative review, saying, " Much of the Wonderlandish magic found on Eno ’ s first LP is lost on this rocky terrain, being replaced by a dull,

Critic Roger Ebert gave the film two out of four stars, praising the film's visual artistry but stating that there is " no narrative engine to pull us past the visual scenery ", and that he " suspected the filmmakers began with a lot of ideas about how the movie should look, but without a clue about pacing, plotting or destination.

Sputnik Music and NME gave it 4. 5 stars to the album with Sputnik Music's Critic Tyler Fisher saying: " This is their most cohesive album, it expands on newer sounds and improves on others.

Critic Roger Ebert gave the film four stars, calling it " a very funny movie sometimes, and very touching at other times.

Critic Corey Apar of Allmusic gave Against Me!

Critic Roger Ebert gave the film three stars, stating " When you hear that Dr. T is a gynecologist played by Richard Gere, you assume he is a love machine mowing down his patients.

Critic Dave Marsh would call it one of the " two best records Dylan has made since John Wesley Harding " and gave it a four-star review in the 1979 Rolling Stone Record Guide.

Critic Janet Maslin gave the film a positive review in The New York Times.

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.

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 ".

Critic Roger Ebert gave the film three stars, saying: " 8mm is a real film.

Critic Robert Koehler, writing in Variety magazine, also gave the gave the film a mixed review, writing, " The latest fashion, The Salton Sea strains past the breaking point to provide the old genre with new couture.

Theatre review aggregator Curtain Critic gave the production a score of 73 out of 100 based on the opinions of 15 critics.

Screwattack named it the second worst Mario game of all time., while others were much more positive, like The Video Game Critic, who gave it an A rating, calling it " a satisfying mix of strategy and arcade action " and " a must have for Virtual Boy owners.

In one of its highest scoring reviews, The Video Game Critic gave the game an A-and said it's " hard to put down.

" Critic Roger Ebert gave the film three stars, comparing the movie to a summertime version of A Christmas Story, based on the tone and narration of both films.

Many reviewers gave it a rotten review, but Top Critic, Roger Ebert writing for the Chicago Sun Times gave it a positive review giving it a 3 out of 4 stars.

Critic David Ansen gave the film a mixed review, writing, " Taylor Hackford's thriller Proof of Life leaves a lot to be desired, but it's got its hands on a fascinating subject ... To be fair, Tony Gilroy's screenplay keeps the romance on the back burner ... Thorne is the most compelling aspect of Proof of Life, thanks to Crowe's quiet, hard-bitten charisma.

He was the author of The Rehearsal, an amusing and clever satire on the heroic drama and especially on Dryden's The Conquest of Granada ( first performed on 7 December 1671, at the Theatre Royal, and first published in 1672 ), a deservedly popular play which was imitated by Henry Fielding in Tom Thumb the Great, and by Sheridan in The Critic.

Critic Dennis Schwartz liked the film and acting in the drama and wrote, " A schematic film noir by Nicholas Ray ( They Live by Night ) that overcomes its artificial contrivances to become a touching psychological drama about despair and loneliness -- one of the best of this sort in the history of film noir ... Robert Ryan's fierce performance is superb, as he's able to convincingly assure us he has a real spiritual awakening ; while Lupino's gentle character acts to humanize the crime fighter, who has walked on the " dangerous ground " of the city and has never realized before that there could be any other kind of turf until meeting someone as profound and tolerant as Mary.

) Critic and author Greg Kot wrote in Wilco: Learning How to Die that " Tweedy's voice and personality are as modest as the arrangements ; there's little sense of drama, and virtually no hint of risk.

" Ted Baehr Under the Lights: Christian Critic draws his own mixed reviews.

Robin Pierson of The TV Critic gave the episode a mixed review, giving it a 55 %.

Robin Pierson of The TV Critic gave the episode a mixed review, rating the episode a 67 / 100, stating that it is one of the most densely packed pilots on television, he mentioned that it is entertaining but he said that there are many jokes that follow the quality does not win out over quantity saying.

Critic Jay Seaver gave the film a mixed review, writing, " Nightfall isn't worried about purity of genre ; it occasionally threatens to become an almost light-hearted caper movie ... The storytelling is more than a bit cumbersome.

*" Dining Out: The Food Critic at Table " A review of food writing and writers by Adam Gopnick that examines the genre.

Critic Roger Ebert, in a review dated January 1, 1972, did not care for the film.

The Nostalgia Critic, in his review of The Room, performed a more over-the-top parody of the sketch near the end of the video.

Critic Dennis Schwartz questioned the noir aspects of the film and discussed the cinematography in his review.

Critic Geoff Barton coins the term " New Wave of British Heavy Metal " in a review of the show for Sounds magazine.

During the broadcast run of The Adventures of Brisco County, Jr., TV Guide featured a positive review of the show in its Couch Critic column and wrote, " It's as funny as it is exciting, which is not an easy combo to pull off ... it's fresh and funny and different, and that's why we like it.

Critic Roger Ebert wrote in his review, " The best shot in this film is the first one.

Critic Hollis Alpert wrote in his review:

Critic Brooks Atkinson, in his review for The New York Times wrote of the original 1949 Broadway production that Maxwell Anderson and Mr. Weill had encountered " obvious difficulty " in transforming " so thoroughly a work of literary art " into theatre, and was sometimes " skimming and literal where the novel is rich and allusive.

Critic Roger Ebert's review was four out of four stars ; at the end of the year, he named it the best film of 1999.

The film was given a negative review in The Times newspaper in the United Kingdom, in a piece published on 21 July 1966 and credited only to " Our Film Critic ".

Critic Louis Leroy, inspired by the painting's name, titled his hostile review of the show in Le Charivari newspaper, " The Exhibition of the Impressionists ", thus inadvertently naming the new art movement.

Critic Stephanie Zacharek wrote in her review " Rising star Samantha Morton shines in this charming, finely crafted film from Woody Allen " and that " Her performance is like nothing I ’ ve seen in recent years.

He also had a brief cameo in the Nostalgia Critic's 200th episode where he starts off chatting idly with the Critic and then leaves the room, whereupon the Critic realizes Spencer put a grenade down the Critic's pants, due to his apparent anger at the Critic's choice of movie to review ( Ponyo ).

* UK Critic review

Critic Roger Ebert lauded the film in his film review, writing, " The Official Story is part polemic, part thriller, part tragedy.

" 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.

Critic Glenn Erickson recently echoed the New York Times review, writing, " Although biographies on both Ib Melchior and Sid Pink would have you believe that The Angry Red Planet is an outer-space classic, it simply isn't so.

Critic John Neal, who was a friend of Poe's cousin George Poe, responded to Poe's claim in his review of " Al Aaraaf " for the Yankee and Boston Literary Gazette.