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 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 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 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 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 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 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 Dennis Schwartz wrote, " A remarkable indy classic, made on a shoestring budget by a group of still photographers.

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.

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.

Critic Leonard Maltin labeled Hawks " the greatest American director who is not a household name ," noting that, while his work may not be as well known as Ford, Welles, or DeMille, he is no less a talented filmmaker.

Critic John Sutherland ( 1989 ) described the work as " the most sensationally successful of all the sensation novels.

Critic Louis Vauxcelles described the work with the phrase " Donatello parmi les fauves!

Critic Lloyd Goodrich praised the work as “ one of the most poignant and desolating pieces of realism .” The work is the first of a series of stark rural and urban scenes that uses sharp lines and large shapes, played upon by unusual lighting to capture the lonely mood of his subjects.

* The Critic and the Heart ( 1957 )-Bolt's first professionally produced work, it involves Winifred Blazer, a middle-aged spinster whose life is ruined by the arrival of a mean-spirited art critic.

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.

In addition to her work on The Simpsons, Cartwright has voiced many other characters on several animated series, including Chuckie Finster in Rugrats and All Grown Up !, Margo Sherman in The Critic, Mindy in Animaniacs and Rufus the naked mole rat in Kim Possible.

*" Critic At Large ", where Gilbert Smythe Bite-Me ( Abbott ), an entertainment critic, gives negative reviews, and takes regular potshots at the Women's Television Network, describing them as ' a bunch of scrotally-deprived, estrogen-sodden non-males ', and ' not just because three of ( his ) ex-wives work there.

" Critic Giovanni Grazzini, reviewing for the Italian newspaper Corriere della Sera, described Fellini as " an artist at his peak " and the film as the work of a mature, more refined director whose “ autobiographical content shows greater insight into historical fact and the reality of a generation.

Critic Walter Addiego considers Nava's work a worshipful biography of her.

Critic Harold Bloom cites Myra Breckinridge as a canonical work in his book The Western Canon.

Critic Brooks Atkinson, in his review for The New York Times wrote of the original 1949 Broadway production that Maxwell Anderson and Mr. Weill had encountered " obvious difficulty " in transforming " so thoroughly a work of literary art " into theatre, and was sometimes " skimming and literal where the novel is rich and allusive.

Richard E. Geis has won 6 of 14 nominations for his work on Science Fiction Review, Psychotic, and The Alien Critic ; Mike Glyer has won 6 of 29 for editing File 770 ; David Langford has won 5 of 12 for work on Ansible and Twil-Ddu ; and Richard Lynch and Nicki Lynch have both won 6 of 14 nominations for Mimosa.

Critic Ron Wynn describes Parker as " mong Europe's most innovative and intriguing saxophonists ... his solo sax work isn't for the squeamish.

Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux.

* Critic: Cornel Robu ( for critical edition of Victor Anestin's work )

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.

Critic Tzvetan Todorov described Bénichou ’ s special interest as “ the thought of poets .” More generally, though, Paul Bénichou ’ s work contributed to the understanding of the creative writer's place in modernity, and illuminated the role of writers in legitimating the institutions and values of modern society.