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

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 John R. Elliott Jr. notes that this particular history play can be distinguished from the other history plays because it contains an ulterior political purpose.

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 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.

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 John Leonard called Northern Exposure " the best of the best television in the past 10 years.

131 and a Lost Lactantius of John of Salisbury: Evidence in Search of a French Critic of Thomas Becket.

Critic John Simon remarked that it " must have arrived in garbage rather than in film cans ".

Critic John Litweiler has written that " In New York Loft Jazz meant Free Jazz in the Seventies " and Studio Rivbea was " the most famous of the lofts ".

Critic John G. Palfrey also praised Holmes, referring to him as " a man of genius ... His manner is entirely his own, manly and unaffected ; generally easy and playful, and sinking at times into ' a most humorous sadness '".

) Critic and author John Clute writes that "… his early stories and novels display considerable intellectual complexity, and do not shirk the downbeat implications of their anthropological treatment of aliens and alienating milieux …" In his major essay on these early novels, author Ian Watson writes " Michael Bishop is both an exoticist and a moralist.

Critic Joachim Berendt wrote that " Since Ponty, the jazz violin has been a different instrument ", of his " style of phrasing that corresponds to early and middle John Coltrane " and his " brilliance and fire ".

Critic John Eyles writes, " Just as such labels as Blue Note, ECM, and Incus have captured and defined the zeitgeist at various points in the past, Erstwhile is now doing so.

Critic and scholar John Sutherland says that of all the books Gardner published, " it's the one that most deserves to survive.

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.

In August 2005, PC leader John Tory appointed Hudak to the lead role of Official Opposition Finance Critic.

Critic John Heilpern wrote that Look Back in Anger expressed such " immensity of feeling and class hatred " that it altered the course of English theater.

Critic John Simon revealed on the air to the home audience that during the most recent commercial break, fellow guest Mort Sahl had threatened to punch him in the mouth.

Critic John Neal, who was a friend of Poe's cousin George Poe, responded to Poe's claim in his review of " Al Aaraaf " for the Yankee and Boston Literary Gazette.

The book is Praise, Vilification & Sexual Innuendo, or How to Be a Critic: The Selected Writings of John L. Wasserman, 1964-1979.

* Joseph Wood Krutch as a Cultural Critic by John Margolis

Critic Simon Reynolds described this movement as " a rash of blurry, neo-psychedelic bands ".

Critic Tony Stewart praised the episodes in which Steve discovered that Lloyd and Liz were having a fling, calling it " pure comedy gold, full of wicked laugh-out-loud one-liners ..." Ian Wylie has been very impressed with Simon Gregson's performance as Steve saying, " his on screen performance remains as fresh as the day he started ".

* Micha Odenheimer, A “ Connected Critic ”, Micha Odenheimer speaks with an individual who has carved out a space for himself as a left-wing supporter of Israel, Eretz Acheret Magazine

* Williams, Talcott, " Appreciations of Horace Howard Furness: Our Great Shakespeare Critic ," The Century Magazine, November 1912.

* David Edelstein 1977 – Film Critic, New York Magazine, NPR's Fresh Air, CBS Sunday Morning, Slate, the New York Post, the Village Voice, and the Boston Phoenix.

He became a frequent contributor to the Monthly Review, the Gentleman's Magazine, the Anti-Jacobin Review and the British Critic.

In his recovery period from the injury, he ballooned to 245 pounds reviewing local area restaurants with Washingtonian Magazine Food Critic Tom Head on a weekly radio segment.

* EFilm Critic Online Film Magazine, Interview: Tom Atkins Thrills Us: http :// efilmcritic. com / feature. php? feature = 2652 ( Date Unknown ) with Peter Sobczynski

In 1881, she helped to co-found The Critic, a literary magazine that was merged with the third incarnation of Putnam's Magazine in 1906.

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

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.