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Critic and James
Critic James Agee noted that " the Hays office must have been raped in its sleep " to allow the film to be released.
Critic James Agee praised her performance in The Nation:
" Critic Danny Peary wrote that " it was great to see Sean Connery return as James Bond after a dozen years ".
Angry Video Game Nerd ( James Rolfe ) and Nostalgia Critic ( Doug Walker ) had a Vs. crossover with each other.
Critic James Dafforne, writing in 1871 in The Art Journal said of Leader's style:
Critic James Fallows remarked that McCaughey's arguments against the stimulus legislation were similar to the false claims she advanced years ago against the Clinton healthcare bill.
* James Douglas, Theodore Watts-Dunton: Poet, Novelist, Critic, ( 1904, repr.
* Eli Siegel on Satire Comment on ' The Owl Critic ,' satiric poem by James Thomas Fields
* 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
In August 2007, Karagianis was appointed the Official Opposition Critic for the Ministry of Transportation in New Democrat leader Carole James ' shadow cabinet.
They left after season four to create The Critic, an animated show about film critic Jay Sherman ( voiced by Jon Lovitz ); the show was executive produced by The Simpsons co-developer James L. Brooks.
" Critic James Hebert wrote: " When it premiered in 1990 it was widely presumed to be an oblique response to the ravages of AIDS.
# ‘ James Barr as Critic and Theologian ’, in Language, Theology, and the Bible: Essays in Honour of James Barr ( ed.
* Doherty, Paul C., " Words as Idols: The Epiphany in James Joyce's ' The Sisters ,'" CEA Critic, vol.

Critic and appreciated
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 and direction
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 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 Stephen Holden, of The New York Times, liked the film's direction.
Critic William Ruhlman agreed, writing that the album " is a highly referential work from an artist who started where most end and has been earnestly seeking the right direction ever since.
The title of " Ba ' al Hasagot " ( Critic ), given him frequently by the rabbis, shows that they viewed the direction in which his ability lay.
Critic Ziya Us Salam praised Akhtar's direction and commented for The Hindu: " In his maiden venture, Javed Akhtar's son shows enough glimpses of his pedigree to indicate that promise will attain fulfilment sooner than later.
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 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 Dennis Schwartz questioned the noir aspects of the film and discussed the cinematography in his review.
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 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 and Lee
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 and writing
*" Dining Out: The Food Critic at Table " A review of food writing and writers by Adam Gopnick that examines the genre.
Critic Stephen Thomas Erlewine has described Francis's writing as containing " bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture ".
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 Luis Leal attests that Carpentier was an originating pillar of the magical realist style by implicitly referring to the latter's critical works, writing that " The existence of the marvelous real is what started magical realist literature, which some critics claim is the truly American literature.
Pattison was at this time a Puseyite, and greatly under the influence of John Henry Newman, for whom he worked, helping in the translation of Thomas Aquinas's Catena Aurea, and writing in the British Critic and Christian Remembrancer.
Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.
Critic Ion Simuţ suggests that Iorga is at his best in travel writing, combining historical fresco and picturesque detail.
Critic Stephen Thomas Erlewine of Allmusic speculated that the alternate persona and elaborate marketing scheme backfired, writing, " When Brooks ' new persona and his album were revealed to the public, they were unforgiving-they didn't think he was playing a role, they simply thought he'd lost his mind.
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 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,
In 1917, she began writing for the Fort Worth Critic, critiquing dramas, and writing society gossip.
Critic Roger Ebert lauded the film in his film review, writing, " The Official Story is part polemic, part thriller, part tragedy.
Gael Greene, writing under the rubric " The Insatiable Critic ," reviewed restaurants, cultivating a baroque writing style that leaned heavily on sexual metaphor.
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 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.
Critic Roger Ebert, on the other hand, liked the film writing, " And yet the film works.
Critic Janet Maslin spoke well of the actors, writing,
" Critic Philip Kemp, writing in his essay for the Criterion Collection release of the trilogy, argues that, while " the film suffers from its sheer magnitude from the almost unrelieved somberness of its prevailing mood ...

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