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Critic and Vincent
Critic Vincent Canby wrote, " Ms. Tomei gives every indication of being a fine comedian, whether towering over Mr. Pesci and trying to look small, or arguing about a leaky faucet in terms that demonstrate her knowledge of plumbing.
Critic Christopher Null wrote of the film, " One of the ' 70s juiciest entries into the horror genre, The Abominable Dr. Phibes is Vincent Price at his campy best, a former doctor and concert organist ( go figure that one out yourself ) who is exacting revenge on the nine doctors he blames for botching his wife's surgery, which ended with her death.
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 Vincent Canby in his negative New York Times review on May 8, 1981 opined, " he film's one bright spot is Barbara Harris, who plays Dinette as sincerely as possible under awful conditions.

Critic and praised
The Athenaeum reviewer praised Ellis Bell's work for its music and power, and the Critic reviewer recognized " the presence of more genius than it was supposed this utilitarian age had devoted to the loftier exercises of the intellect.
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 James Agee praised her performance in The Nation:
Art Critic Guillaume Apollinaire praised those works of the exhibition and proclaimed Delaunay as “ an artist who has a monumental vision of the world .”
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 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 Christopher Null of the AMC Network praised Dutronc's performance, commenting that:
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 Harold Bloom praised Blood Meridian as one of the best 20th century American novels, describing it as " worthy of Herman Melville's Moby-Dick ," but admitted that he found the book's pervasive violence so distasteful that he had several false starts before reading the book entirely.
" Critic Roger Ebert listed the film among his category of " Great Movies "; he praised the film's supporting actors.
Critic Taran Adarsh described the subject matter as a delicate one which could have easily been disastrous and praised the way in which director Karan's boldly constructed the film, citing it has his finest work to date.
Critic Ziya Us Salam praised Akhtar's direction and commented for The Hindu: " In his maiden venture, Javed Akhtar's son shows enough glimpses of his pedigree to indicate that promise will attain fulfilment sooner than later.
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 ".
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 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 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.

Critic and calling
" Critic Rufus Wilmot Griswold reviewed Leaves of Grass in the November 10, 1855, issue of The Criterion, calling it " a mass of stupid filth " and categorized its author as a filthy free lover.
Critic Roger Ebert gave the film four stars, calling it " a very funny movie sometimes, and very touching at other times.
He easily matches Vladimir in verbal melee ( he delivers the ultimate insult in calling Vladimir a " Critic !").
During a legislative debate in June 1999, Toews accused NDP Justice Critic Gord Mackintosh of mischief for repeatedly calling the province's Street Peace gang hotline only to hang up before leaving a message.
Screwattack named it the second worst Mario game of all time., while others were much more positive, like The Video Game Critic, who gave it an A rating, calling it " a satisfying mix of strategy and arcade action " and " a must have for Virtual Boy owners.
Yale ’ s The New Englander while complimenting Emerson's abilities, criticized the book as depicting “ a universe bereft of its God ” and described its author as writing “ with the air of a man who is accustomed to be looked up to with admiring and unquestioning deference .” Littell's Living Age found the book to contain the “ weakest kind of commonplace elaborately thrown into unintelligible shapes ” and claimed it to read in parts like an “ emasculate passage of Walt Whitman .” Others were no less critical, proclaiming that Emerson “ has come to the end of what he had to say, and is repeating himself ” ( Athenaeum ) or even calling him a “ phrasemonger ” and “ second-hand writer ” ( Critic ).
Critic Mordaunt Hall, writing for The New York Times, gave the film a positive review and liked the screenplay, calling the dialogue " a bright and smooth piece of writing " and referred to Mamoulian's direction as " entrancing ".

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