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Critic and Karl
* There is also some programming seen on all Newfoundland systems, such as One Chef One Critic ( produced in St. John's ), hosted by Central Dairies chef Steve Watson and The Telegram food critic ( and former CBNT weather personality ) Karl Wells.

Critic and Williams
Critic Mike Beek suggests these time constraints enabled Williams " to create themes based on ideas and suggestions, rather than a locked down print.
Critic Stephen Burt at the Boston Review commented: " William Carlos Williams and Emily Dickinson together taught Armantrout how to dismantle and reassemble the forms of stanzaic lyric — how to turn it inside out and backwards, how to embody large questions and apprehensions in the conjunctions of individual words, how to generate productive clashes from arrangements of small groups of phrases.
* Williams, Talcott, " Appreciations of Horace Howard Furness: Our Great Shakespeare Critic ," The Century Magazine, November 1912.
Returning to England in 1911, Tempest joined a star-studded cast for Herbert Beerbohm Tree's production of The Critic by Richard Brinsley Sheridan, also starring Arthur Bourchier, C. Hayden Coffin, Lily Elsie, George Grossmith, Jr., Charles Hawtrey, Cyril Maude, Gerald Du Maurier, Gertie Millar, Edmund Payne, Courtice Pounds, Violet Vanbrugh and Arthur Williams, among others.
Critic Pamela Clemit resists a purely autobiographical reading and argues that Mathilda is an artfully crafted novel, deploying confessional and unreliable narrations in the style of her father, as well as the device of the pursuit used by Godwin in his Caleb Williams and by Mary Shelley in Frankenstein.

Critic and called
In 1988 the British artist and friend of Weizenbaum Brian Reffin Smith created and showed at the exhibition ' Salamandre ', in the Musée du Berry, Bourges, France, two art-oriented ELIZA-style programs written in BASIC, one called ' Critic ' and the other ' Artist ', running on two separate Amiga 1000 computers.
Critic F. O. Matthiessen called this " trilogy " James's major phase, and these novels have certainly received intense critical study.
Critic Michael Heiser called Sitchin " arguably the most important proponent of the ancient astronaut hypothesis over the last several decades ".
" Critic Hal Hinson commented that Meyer " capable of sending up his material without cheapening it or disrupting our belief in the reality of his yarn ," and called the one-liners an organic part of the film's " jocular, tongue-in-cheek spirit ".
Critic Dave Marsh called it " one of the best live albums ever made.
Critic Dave Marsh, in The Rolling Stone Record Guide ( 1979 ), called Zevon " one of the toughest rockers ever to come out of Southern California ".
Critic Gill Gregory suggests that Procter may have been a lesbian and in love with Matilda Hays, a fellow member of the Society for the Promotion of the Employment of Women ; other critics have called Procter's relationship with Hays " emotionally intense.
Critic Dennis Schwartz called the film, " A fresh smelling film noir directed with great skill by George Marshall from the screenplay of Raymond Chandler ( the only one he ever wrote for the screen, his other films were adapted from novels of others and, ironically, film adaptations of his novels were all written by other screenwriters ).
Critic Javier Maqua in Cinco Dias called Marina ’ s request evidence of " the greatest intensity of love ".
Critic John Leonard called Northern Exposure " the best of the best television in the past 10 years.
Critic Adam Begley of the Chicago Tribune called the novel: " A bitter and loving and damning tribute to the American family ....
Critic Thomas Ward called this recording " one of the most astonishing accomplishments in all of twentieth century music.
Critic Steve Huey called their album Morbid Florist " barely listenable ".
Critic Roger Ebert called it " one of the great films.
Critic Roger Ebert called it " one of the best horror films ever made ".
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 Roger Ebert praised the film as " an original, intelligent thriller, well-directed by Joel Schumacher ," and called the cast " talented young actors, inhabit the shadows with the right mixture of intensity, fear and cockiness.
Critic Robert van Gelder called it " perhaps the most sentimental story that ever has achieved the dignity of a Borzoi imprint of publisher Knopf imprint.
Critic Robert Christgau of The Village Voice called her contribution " one of the most gorgeous ballads you've ever heard ".
As Justice Critic, Goertzen has called for increased police resources, stronger laws against organized crime, electronic monitoring of sex offenders and a drug treatment court to assist individuals addicted to drugs and alcohol.
Critic Silvio Sirias believes that Dominicans value a talent for story-telling ; Alvarez developed this talent early and was " often called upon to entertain guests ".
* Jack appears in an episode of The Critic in a short parody called " The Nightmare before Chanukka ", done in the same puppet style as the original movie.
Critic Steve Blance, in his Top Ten Worst Movies Review, called the film " the worst I have ever witnessed " and also noted that he would " rather be tortured for twenty-years with searing iron than have to sit through even a minute of this again.
" Critic Jim Derogatis called it " a stone cold gas of a party disc.
The Nostalgia Critic also called her a " Female Magneto " and one of the great cartoon villains.

Critic and film
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.

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