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

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's review of the film in The Guardian concludes that Meet the Parents " is somehow less than the sum of its parts.

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 '.

Critic Steve Huey of Allmusic writes that the album's influence " was felt more in spirit than in direct copycatting, as a catalyst rather than a literal musical starting point.

Critic Johnny Loftus writes, " Rock critics usually reserve a special place for Deftones above or at least away from the rest of the turn-of-the-century metal movement Deftones have always seemed more curious, more willing to incorporate traditionally revered sounds like D. C. hardcore and dream pop into their Northern California alt-metal.

Critic Emerson Dameron writes that the song is " one of the most terrifying, riveting, absurd things I ’ ve ever heard.

Critic Mark Demming writes " Quine's eclectic style embraced influences from jazz, rock, and blues players of all stripes, and his thoughtful technique and uncompromising approach led to rewarding collaborations with a number of visionary musicians.

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 Adam Strohm writes that she " founded a new world for the instrument, taking it far beyond backing rhythms and robotic fills.

Critic Barbara Russano Hanning writes that Striggio's verses are less subtle than those of Rinuccini, although the structure of Striggio's libretto is more interesting.

) 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 Richard Delap writes " There is an abundance of exploitable elements in Bishop's story, so it is astonishing to see how the author keeps them under strict rein, always with a highly keyed visual sense but also with a literary flair that says more by implication than by direct description.

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 Steve Huey writes, " rampant eclecticism encompasses everything from heavy metal and punk to funk, R & B and avant-garde jazz, and his anarchic, lightning-fast solos have become something of a hallmark as well.

Critic / novelist Jonathan Barnes writes of encountering the story as a child and finding it " one of the richest and most singular investigations of Holmes ’ s long career – an opinion which I have had no reason to change ... Revisited in adulthood, the story reveals itself as a sour parable about the endurance of lust, a lurid treatment of the question that is put to Falstaff as Doll Tearsheet fidgets on his knee: ' is it not strange that desire should so many years outlive performance ?'.

Critic Joslyn Layne writes that " Despite his lack of success as a song lyricist, McGregor's narration of his vivid dreamlife provided a more unique artistic contribution than any usually recorded.

* Cruise Critic on " Friends of Dorothy "

The point is already made by Hume, but see Mary Mothersill, " Beauty and the Critic ’ s Judgment ", in The Blackwell Guide to Aesthetics, 2004.

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 Alexander Woollcott wrote of Bogart's early work that he " is what is usually and mercifully described as inadequate.

Critic Robin Roberts opines that this character " is shaped more by her femininity than by her medical, scientific training.

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 ".

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 David Hurwitz offers an alternative explanation for the piece's structure: that " Jupiter " is the centrepoint of the suite and that the movements on either side are in mirror images.

Critic Adam Roberts said of the novel: “ It is really quite hard to respond to this masterful book, except by engaging with its political content ; and yet we need to make the effort to see past the ideological to the formal and thematic if we are fully to appreciate the splendour of Heinlein's achievement here .”

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 Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.

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.

Critic J. Dover Wilson notes that Richard's double nature as man and martyr is the dilemma that runs through the play eventually leading to Richard's death.

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.

* 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.

* The Pre-Raphaelite Critic is a collection of full-text and excerpted 19th century reviews of the movement and its individual members.

" Others criticised him, including Kushell, who clashed with Mirkin over the episode " A Star is Burns ", a crossover with the The Critic.

Critic Jim Harrington commented that Hansen's absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from her backing vocals.

Critic Luis Leal attests that Carpentier was an originating pillar of the magical realist style by implicitly referring to the latter's critical works, writing that " The existence of the marvelous real is what started magical realist literature, which some critics claim is the truly American literature.

" ( This is followed by Frank Zappa's cameo as " The Critic ," who dismisses the 1920s-style tune as " pretty white.

Critic Dave Marsh suggests it is this moment that gives the recording greatness: " went for it so avidly you'd have thought he'd spotted the jugular of a lifelong enemy, so crudely that, at that instant, Ely sounds like Donald Duck on helium.

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.