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 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 Janet Maslin remarked that the director " uses his gift for eloquent abstraction to create sobering, obscenely beautiful images of a natural world that has run amok "; her colleague J. Hoberman called it " the culmination of Mr. Herzog's romantic doomsday worldview ".

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 Janet Maslin spoke well of the actors, writing,

Critic Janet Maslin of The New York Times commented: " The animation [...] has an unfortunate way of endowing the male characters with doggy-looking muzzles.

The Stage commented that Shaw was " a delectably wide-eyed Janet ", with Critic Chris High stating " Shaw is delightful as the naive Janet and proves she has far more to offer than anything a reality TV show could ever uncover " and the British Theatre guide stating " A big surprise to me was how outstanding former Hear ' Say popstar Suzanne Shaw was: she is so at home on stage with strong voice and fabulous presence ".

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 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.

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 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 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 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 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.