* " Critic of the Year " ( Jay Rayner, 2006 ; Philip French, 2009 )

" Critic Philip Kemp, writing in his essay for the Criterion Collection release of the trilogy, argues that, while " the film suffers from its sheer magnitude from the almost unrelieved somberness of its prevailing mood ...

Philip had been his party's Transport Critic for the previous three years, and was appointed as Ontario's Minister of Transport on October 1, 1990.

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 Frank Murphy argues that many of the same characteristics that mark Beiderbecke on the cornet mark him on the keyboard: the uncharacteristic fingering, the emphasis on inventive harmonies, and the correlated choruses.

'" Critic Leslie Sanders argues that, in her ongoing exploration of the notions of " here " and " there ", Brand uses her own " statelessness " as a vehicle for entering "' other people's experience '" and "' other places.

Critic Lisa Zeidner argues that the artist's " loyalty and love " involved with creating originality counters Bigend ’ s assertion that everything is a reflection of something else and that the creative process no longer rests with the individual.

Critic Stephen Burn, in his book on Infinite Jest, argues that YDAU corresponds to 2009: the MIT Language Riots took place in 1997 ( n. 24 ) and those riots occurred 12 years before YDAU ( n. 60 ).

Critic William Fulwiler argues that Edgar Rice Burroughs ' At the Earth's Core was one of Lovecraft's primary inspirations for " The Nameless City ", citing " the reptile race, the tunnel to the interior of the earth, and the ' hidden world of eternal day '" as elements common to both tales.

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 Richard Lehan says that " Balzac was the bridge between the comic realism of Dickens and the naturalism of Zola.

Critic Graham Young claims that Maoists see Joseph Stalin as the last true socialist leader of the Soviet Union, but allows that the Maoist assessments of Stalin vary between the extremely positive and the more ambivalent.

He was also Restaurant Critic for The Guardian between 2004 and 2005.

Kardec's own introductory book on Spiritism, What is Spiritism ?, published only two years after The Spirits Book, includes a long dialogue between his persona and three idealized critics, " The Critic ", " The Skeptic ", and " The Priest ", which as a whole summed up most of the criticism Spiritism has received since then: of being charlatanism, pseudoscience, heresy, anti-Catholic, witchcraft, and / or a form of Satanism.

Critic Steve Huey of Allmusic later rated the album with four and a half stars out of five, stating that the " record sounds like a bridge between Mother Love Bone's theatrical ' 70s-rock updates and Pearl Jam's hard-rocking seriousness.

Critic Matthew Turner of View London wrote that Watts " strikes an intriguing balance between strength and emotional vulnerability.

Critic Northrop Frye said that Menippean satire moves rapidly between styles and points of view.

Critic Vincent Leo praised Penn's performance, noting, " While Oldman gets the accolades for his energetic performance, it is really Penn's inner demons that provides the film with the right amount of conflict, always letting us be aware that fine lines are the difference between life and death, as well as right and wrong, out in the streets of New York.

Critic Mary Vermillion sees a connection between Maya's rape and Shakespeare's " The Rape of Lucrece ", which Maya memorizes and recites when she regains her speech.

Critic Ernest Hilbert wrote for Random House's magazine Bold Type that " Wright oscillates between direct and evasive dictions, between the barroom floor and the arts club podium, from aphoristic aside to icily poetic abstraction.

Critic Stephen Thomas Erlewine has described Francis's writing as containing " bizarre, fragmented lyrics about space, religion, sex, mutilation, and pop culture ".

Critic Stephen Thomas Erlewine describes Talking Heads as being " one of the most critically acclaimed bands of the ' 80s, while managing to earn several pop hits.

Critic and musicologist Robert Palmer said their endurance and relevance stems from being " rooted in traditional verities, in rhythm-and-blues and soul music " while " more ephemeral pop fashions have come and gone ".

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, Stephen Erlewine of AllMusic wrote that Dion's vocals " are back at top of their game " and that she was " getting back to pop basics and performing at a level unheard in a while.

Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.

Critic Robert Christgau also commented in a similar vein: " The difference is that Browne shouldn't be doing this ... he's a pop star who's stretching his audience and endangering his market share merely by making such a statement in 1986.

" Critic Andre Meyer of CBS News thought the material on the album was " stronger " than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the " jittery R & B vibe that made Destiny's Child so potent.

Critic John Metzger of The Music Box praised the album, saying that " the group's songs combine the melodic pop of The Beatles with the heavy-handed thunder of The Who and the tight-knit harmonic luster of The Byrds ".

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 Steve Huey describes their music as " uncompromising, intense, cathartic fusions of hard rock, funk, post-punk noise, and jazz experimentalism, with Rollins shouting angry, biting self-examinations and accusations over the grind.

Critic Eduardo Rivadavia describes them as " perhaps the ultimate stoner rock band "

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 Robert Christgau commented that " Anybody who thinks rock and roll is alive and well in the infinite variety of its garage-boy permutations had better figure out how these Hitler Youth rejects could crush the competition and quit simultaneously.

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 Alex Henderson describes the band's music as a " mildly avant-garde blend of jazz, rock and funk draws on a wide variety of influences ... Often quirky, eccentric and abstract, JFJO favors an inside / outside approach but is usually more inside than outside.

" Critic Jimmy Guterman named it one of the worst albums ever released in the history of rock.

Critic Jason Ankeny declares that " Weston's name and fingerprints are all over the American underground rock of the post-punk era, producing and engineering dates for a seemingly endless number of bands.

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.