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Page "On Dangerous Ground" ¶ 24
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Critic and Dennis
Critic Dennis Schwartz questioned the noir aspects of the film and discussed the cinematography in his review.
Critic Dennis Schwartz appreciated the acting ensemble in the film and wrote, " The film was too stagebound to be effective cinema, but it scores points in its unsentimental portrait of the loser life of the lonely and desperate merchant seamen.
Critic Dennis Schwartz wrote, " A remarkable indy classic, made on a shoestring budget by a group of still photographers.
Critic Dennis Schwartz called the film, " A fresh smelling film noir directed with great skill by George Marshall from the screenplay of Raymond Chandler ( the only one he ever wrote for the screen, his other films were adapted from novels of others and, ironically, film adaptations of his novels were all written by other screenwriters ).
* One episode of the short lived TV series, The Critic, features main character Jay Sherman reviewing a movie titled Dennis the Menace II Society, in which Dennis the Menace pulls out two machine guns and shoots up George Wilson's house.
Critic Dennis Schwartz wrote, " The unwell Bogie's last film is not a knockout, but his hard-hitting performance is terrific as a has-been sports journalist out of desperation taking a job as a publicist for a fight fixer in order to get a bank account ... The social conscience film is realistic, but fails to be shocking or for that matter convincing.
Critic Dennis Schwartz wrote, " The performances are stagy but filled with fiery emotion.
Critic Dennis Schwartz wrote of the film, " The film takes a populist stand by promoting ' art for the masses ' and takes a negative view of the art elitists ( art critics and collectors ) who favor such art styles as surrealism.
Critic Dennis Schwartz lauded the film and wrote, " This is Joseph H. Lewis's second feature and one that has the same intense energy as his The Big Combo ( 1955 ) and My Name is Julia Ross ( 1945 ).
Critic Dennis Schwartz liked the look of the film and wrote, " Cinematographer Burnett Guffey is relentless in capturing the spiritual desolation of the characters with ominous shots of the myriad railroad tracks interweaving and separating in a train yard at night.
Critic Dennis Schwartz of Ozus ' World Movie Reviews panned the film.
Critic Dennis Schwartz liked the film and wrote, " Splendid adaptation by Stirling Silliphant of David Goodis's 1947 novel.

Critic and liked
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 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 Stephen Holden, of The New York Times, liked the film's direction.
Critic Desson Howe liked the look of the film and wrote, " Cinematographer Haskell Wexler etches the characters in dark charcoal against a misty background.
Critic Roger Ebert, on the other hand, liked the film writing, " And yet the film works.
Critic Mordaunt Hall, writing for The New York Times, gave the film a positive review and liked the screenplay, calling the dialogue " a bright and smooth piece of writing " and referred to Mamoulian's direction as " entrancing ".
Critic Jerry Renshaw liked the film and wrote, " The Naked Kiss finds Sam Fuller's tabloid sensibilities boiling to the surface, as it dwells on the uncomfortable and taboo subjects of deviancy, prostitution, and small-town sanctimony.

Critic and film
Critic Roger Ebert was and remains today a champion of the film, including it on his all-time top ten best films list.
Critic Roger Ebert, in a review dated January 1, 1972, did not care for the film.
Critic Lynn Hirschberg declared Stranger than Paradise in a 2005 profile of the director for The New York Times to have " permanently upended the idea of independent film as an intrinsically inaccessible avant-garde form ".
Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, " The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933.
Critic Christopher Sharrett argues that since Alfred Hitchcock's Psycho ( 1960 ) and The Birds ( 1963 ), the American horror film has been defined by the questions it poses " about the fundamental validity of the American civilizing process ", concerns amplified during the 1970s by the " delegitimation of authority in the wake of Vietnam and Watergate ".
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 has included the film in his series of " Great Movies " reviews.
Critic Stephen Farber has described the film as " One of the most skillful and entertaining summaries of Marilyn's endlessly fascinating rise and fall.
Critic Lawrence van Gelder, writing for The New York Times, did not like the film.
Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy ( Elliott ): E. T.
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 James Agee noted that " the Hays office must have been raped in its sleep " to allow the film to be released.
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 Billy Stevenson described the film as Moore's " most astonishing ", arguing that it represents an effort to conflate film-making and labor, and that " it's this fusion of film-making and work that allows Moore to fully convey the desecration of Flint without ever transforming it into a sublime or melancholy poverty-spectacle, thereby distancing himself from the retouristing of the town-as-simulacrum that occupies the last and most intriguing part of the film.
Critic Vincent Canby praised the film, calling the film " a devastating collage-film that examines official and unofficial United States attitudes toward the atomic age " and a film that " deserves national attention.
Critic James Steffen appreciated the direction of the film and the cinematography of Lee Garmes, writing " While Detective Story remains essentially a filmed play, Wyler manages to use the inherent constraints of such an approach as an artistic advantage.

Critic and acting
He is currently acting as the Liberal Critic for Industry and Consumer Affairs under interim leader Bob Rae and serves as Vice-Chair of the Standing Committee on Industry, Science and Technology.
Critic Akshay Shah wrote " Arjun Rampal displays talent, looks smashing on screen, but one can ’ t help feel that he isn ’ t given a character to match his acting potential.
On November 28, 1828 a contest was posted in the New York Critic by American actor, Edwin Forrest, offering a prize of 500 dollars for an original play which met such criteria as,a tragedy, in five acts, of which the hero, or principal character, shall be an aboriginal of this country .” Forrest, looking to produce a play suiting his strengths, created the contest as an opportunity to boost his acting career.

Critic and drama
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 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.
Critic Bosley Crowther gave the drama a mixed review, and wrote, " Therefore, The Sniper develops, as it casually gets along, into nothing more forceful or impressive than a moderately fascinating " chase.

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