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

Critic Joe Balthai wrote she was " the darling of the 1998 Sundance Film Festival " and Internet movie writer Harry Knowles said she was the " discovery of the fest ", but the film was not commercially released in the U. S. and went direct-to-video.

NDP Justice Critic Joe Comartin argued that this change addressed the legitimate concerns of Canadians, while removing what he described as " the radical, extreme over-reaction " of the Conservatives.

Joe Bob Briggs, The Drive-In Movie Critic, described Wishman as, " The greatest female exploitation film director in history.

During a legislative debate in June 1999, Toews accused NDP Justice Critic Gord Mackintosh of mischief for repeatedly calling the province's Street Peace gang hotline only to hang up before leaving a message.

Critic Grace Dent has likened Dot and Jim to Coronation Streets Hilda and Stan Ogden, comparing a scene in EastEnders where Dot nags Jim and he prays for a quiet life to a similar one from Coronation Street, that aired decades before.

Critic Nathan Gelgud said, " Because it's an Anthony Mann movie, Side Street is similarly interested in detail, as well as great action sequences and even greater locations.

Critic Edgar Allan Poe expressed his opinions on the community in an article titled " Brook Farm " in the December 13, 1845, issue of the Broadway Journal.

Critic James Dafforne, writing in 1871 in The Art Journal said of Leader's style:

He contributed several papers to the first series of the British Critic, and two to the Edinburgh Philosophical Journal, in 1822.

* Harlan Jacobson: WBGO Journal Film Critic

" CEA Critic: An Official Journal of the College English Association 51, no.

He wrote up the Turton matches under the pen name " Free Critic " and, freely critical of his own performances, contributed regular articles to the Bolton Weekly Journal " Cricket and Football Field ".

Critic Roger Ebert stated that Gellar and co-star Ryan Phillippe " develop a convincing emotional charge " and that Gellar is " effective as a bright girl who knows exactly how to use her act as a tramp ".

* Doug Walker of " ThatGuywiththeGlasses. com " stated that he drew a lot of inspiration for the Nostalgia Critic from Daffy.

In early November 2000, Conservative Defence Critic David Price stated that JTF2 had been deployed to Kosovo, however, this was denied by Prime Minister Jean Chrétien and Defence Minister Art Eggleton.

Critic Roger Ebert stated, " I am gradually developing a suspicion, or perhaps it is a fear, that Jim Carrey is growing on me ", as he had given bad reviews for his previous films Dumb and Dumber and Ace Ventura: Pet Detective.

Critic Luke Y. Thompson of The New Times stated that " defenders of the film have argued that it's actually pro-woman, due to the fact that the female lead wins in the end, which is sort of like saying that cockfights are pro-rooster because there's always one left standing ".

" Critic Anders Sandvall, also of Metal Rules, stated that " the band has done a masterpiece in their genre.

Critic Mario Mesquita Borges praised it and stated that " he future of rock & roll is surely guaranteed with acts such as American Hi-Fi.

Critic Paul Brenner of Rotten Tomatoes. com cited the film as " treacly ," whilst many others on the site have stated that a sequel was not necessary.

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 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.

Critic Roger Ebert said of the film that it " somehow does succeed in treating the awesome and scary subject of sexual initiation with some of the dignity it deserves.

Critic Jack Sullivan has kinder words for Tiomkin's score for Strangers than does biographer Spoto: " o seamlessly and inevitably does it fit the picture's design that it seems like an element of Hitchcock's storyboards ", he writes It is a score that " goes largely uncelebrated.

" Critic Jeffrey M. Anderson, of Combustible Celluloid, wrote "... when the movie does actually reach the factory, and Gene Wilder takes the stage, the movie is saved.

Critic Roger Ebert wrote in the Chicago Sun-Times: " The film is a masterful achievement on all the technical levels -- it does an especially good job of convincing us with its Asian locations -- but the best moments are the human ones, the conversations, the exchanges of trust, the waiting around, the sudden fear, the quick bursts of violence, the desperation.

Critic Richard Skorman wrote, " Forsyth does a good job of making light of the tender part in teenage psyche, and his friends and little sister in particular are quirky and lovable.

Robin Pierson of The TV Critic gave the episode a mixed review, rating the episode a 67 / 100, stating that it is one of the most densely packed pilots on television, he mentioned that it is entertaining but he said that there are many jokes that follow the quality does not win out over quantity saying.