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

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 ".

DirkJan was first published in Critic, the magazine for the local union of psychology students.

Critic Roger Ebert was and remains today a champion of the film, including it on his all-time top ten best films list.

The Athenaeum reviewer praised Ellis Bell's work for its music and power, and the Critic reviewer recognized " the presence of more genius than it was supposed this utilitarian age had devoted to the loftier exercises of the intellect.

The visitor was supposed to help them converse by typing in to ' Artist ' what ' Critic ' said, and vice versa.

Critic Alistair Cooke observed that Capra was " starting to make movies about themes instead of people.

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 Richard Lehan says that " Balzac was the bridge between the comic realism of Dickens and the naturalism of Zola.

Critic William Baer notes that throughout his career " he constantly rose to the challenge of his own aspirations ", adding that " he was a pioneer and visionary who greatly affected the history of both stage and cinema ".

Less successful efforts included The Critic, which starred Jon Lovitz from Saturday Night Live ( originally airing on ABC then moved to Fox before being canceled ), and The PJs, ( which was later broadcast on The WB ).

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 Steve Huey of Allmusic writes that the album's influence " was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point.

Critic Roberta Reeder notes that the early poems always attracted large numbers of admirers: " For Akhmatova was

Critic Joe S. Harrington suggested that the latter two " paraded as Hardcore until it was deemed permissible to do otherwise.

Critic Robert Trussell noted, " Little effort was made to hide the ( California ) mountains in the background.

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.

Critic Michael Billington recalled: " In Redgrave's Vanya you saw both a tremulous victim of a lifetime's emotional repression and the wasted potential of a Chekhovian might-have-been: as Redgrave and Olivier took their joint curtain call, linked hands held triumphantly aloft, we were not to know that this was to symbolise the end of their artistic amity.

It was followed by The Critic ( 1779 ), an updating of the satirical Restoration play The Rehearsal, which received a memorable revival ( performed with Oedipus Rex in a single evening ) starring Laurence Olivier as Mr Puff, opening at the New Theatre on 18 October 1945 as part of an Old Vic Theatre Company season.

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.

He has also written for The Independent, and was Restaurant Critic for Harpers & Queen magazine from 1995 to 1998.

He was also Restaurant Critic for The Guardian between 2004 and 2005.

The Black Knight's voice was featured in an episode of the Nostalgia Critic where he reviewed the movie Child's Play.

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, Stephen Erlewine of AllMusic wrote that Dion's vocals " are back at top of their game " and that she was " getting back to pop basics and performing at a level unheard in a while.

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 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 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.