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 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 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 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 William Kuhn argued that much of his fiction can be read as " the memoirs he never wrote ", revealing the inner life of a politician for whom the norms of Victorian public life appeared to represent a social straitjacket – particularly with regard to his allegedly " ambiguous sexuality.

Critic Jon Savage would later say that their singer Ian Curtis wrote " the definitive Northern Gothic statement ".

Critic Alexander Woollcott wrote of Bogart's early work that he " is what is usually and mercifully described as inadequate.

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.

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 Billy Altman, whose work has appeared in many publications including Entertainment Weekly and The New York Times, wrote the following for Amazon. com: " One of rock's most overlooked masterpieces, this third album by the L. A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968.

Critic John Clute wrote of M. John Harrison's early writing that it "... reveals its New-Wave provenance in narrative discontinuities and subheads after the fashion of J. G. Ballard ".

Critic Rex Reed wrote, " If you want to see what turns a B movie into a classic [...] don't miss Night of the Living Dead.

Critic Stewart Mason wrote, " Over their brilliant first three albums, Wire expanded the sonic boundaries of not just punk, but rock music in general.

Critic Roger Ebert wrote of Keaton's " extraordinary period from 1920 to 1929, he worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies.

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

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 Edward Dannreuther, wrote, in the 1905 edition of The Oxford History of Music, " Mussorgsky, in his vocal efforts, appears wilfully eccentric.

Critic and author Eddie Muller wrote, " Joseph H. Lewis's direction is propulsive, possessed of a confident, vigorous simplicity that all the frantic editing and visual pyrotechnics of the filmmaking progeny never quite surpassed.

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 Frederic and Mary Ann Brussat wrote, " Here's a nice little movie about the baby boom generation ... Novelist John Sayles wrote, directed, and edited this movie.

Critic Pare Lorentz wrote, " The Warner brothers have declared war on Germany with this one.

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 Robert Cantwell wrote in his unpublished memoir Twigs of Folly:

Critic Jerry Renshaw wrote, " A Double Life is an unusually intelligent, literate noir that is a classy departure from the pulpy " B " atmospherics often associated with the genre.

Critic Scott Yanow wrote, " Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh ( and sometimes futuristic ) ideas that put him way ahead of his contemporaries ... Art Tatum's recordings still have the ability to scare modern pianists.

Critic Jason Ankeny wrote, " With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop.

Critic Ed Gonzalez wrote, " Not unlike Albert Camus ' The Stranger, Nicholas Ray's remarkable In a Lonely Place represents the purest of existentialist primers ... Laurel and Dixon may love each other but it's evident that they're both entirely too victimized by their own selves to sustain this kind of happiness.

Critic Fernando F. Croce wrote of the film, " Fallen Angel, the director's follow-up to his 1944 classic, is often predictably looked down as a lesser genre venture, yet its subtle analysis of shadowy tropes proves both a continuation and a deepening of Preminger's use of moral ambiguity as a tool of human insight ... Preminger's refusal to draw easy conclusions — his pragmatic curiosity for people — is reflected in his remarkable visual fluidity, the surveying camera constantly moving, shifting dueling points-of-view in order to give them equal weight.

Anthony DiMaggio, “ Interview: Media Critic Robert McChesney ,” indy ( Bloomington-Normal, Ill .), Vol.

Critic William Michael Rossetti considered Leaves of Grass a classic along the lines of the works of William Shakespeare and Dante Alighieri.

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 Don Heckman commented of the unedited " Original Faubus Fables " in a 1962 review that it was " a classic Negro put-down in which satire becomes a deadly rapier-thrust.

Critic Karl Williams called the film, " well-plotted and executed film noir suffered from its lack of star power, but has become something of a cult classic.