Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy ( Elliott ): E. T.

Critic Peter Craven writes that " Two Friends is arguably the most accomplished piece of screenwriting the country has seen and it is characterised by a total lack of condescension towards the teenage girls at its centre ".

Critic Peter Marrow wrote: " As it stands, the story's ending makes no sense – forcing one to try to look for something left unsaid.

Critic Peter Bradshaw of The Guardian gives the film a score of 3 out of 5.

Prentice was defeated by Peter MacKay on the final ballot of the party's 2003 leadership convention ; Borotsik resigned as party whip, but remained Agriculture Critic.

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

" Creating a Nation: Peter Nazareth as Literary Critic.

Critic Peter Silverton gave the album five stars.

Some of her more notable productions included: the Old Vic Company's Rostand's Cyrano de Bergerac, Britten's opera Peter Grimes at Covent Garden, Chekov's Uncle Vanya, and Sheridan's ' The Critic '.

*" Dining Out: The Food Critic at Table " A review of food writing and writers by Adam Gopnick that examines the genre.

Critic Roger Ebert, in a review dated January 1, 1972, did not care for the film.

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.

The Nostalgia Critic, in his review of The Room, performed a more over-the-top parody of the sketch near the end of the video.

Critic Dennis Schwartz questioned the noir aspects of the film and discussed the cinematography in his review.

Critic Geoff Barton coins the term " New Wave of British Heavy Metal " in a review of the show for Sounds magazine.

During the broadcast run of The Adventures of Brisco County, Jr., TV Guide featured a positive review of the show in its Couch Critic column and wrote, " It's as funny as it is exciting, which is not an easy combo to pull off ... it's fresh and funny and different, and that's why we like it.

Critic Roger Ebert wrote in his review, " The best shot in this film is the first one.

Critic Hollis Alpert wrote in his review:

Theatre review aggregator Curtain Critic gave the production a score of 63 out of 100 based on the opinions of 18 critics.

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.

Critic Roger Ebert's review was four out of four stars ; at the end of the year, he named it the best film of 1999.

The film was given a negative review in The Times newspaper in the United Kingdom, in a piece published on 21 July 1966 and credited only to " Our Film Critic ".

Critic Louis Leroy, inspired by the painting's name, titled his hostile review of the show in Le Charivari newspaper, " The Exhibition of the Impressionists ", thus inadvertently naming the new art movement.

Critic Stephanie Zacharek wrote in her review " Rising star Samantha Morton shines in this charming, finely crafted film from Woody Allen " and that " Her performance is like nothing I ’ ve seen in recent years.

Critic Ed Naha, writing in Crawdaddy !, gave the album a negative review, saying, " Much of the Wonderlandish magic found on Eno ’ s first LP is lost on this rocky terrain, being replaced by a dull,

He also had a brief cameo in the Nostalgia Critic's 200th episode where he starts off chatting idly with the Critic and then leaves the room, whereupon the Critic realizes Spencer put a grenade down the Critic's pants, due to his apparent anger at the Critic's choice of movie to review ( Ponyo ).

* UK Critic review

Critic Roger Ebert lauded the film in his film review, writing, " The Official Story is part polemic, part thriller, part tragedy.

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.

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

Critic Glenn Erickson recently echoed the New York Times review, writing, " Although biographies on both Ib Melchior and Sid Pink would have you believe that The Angry Red Planet is an outer-space classic, it simply isn't so.

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.

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

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 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 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.