Crowther said that Davis " does nicely as the fiancée who is widowed herself and knows the loneliness of grief ," while another noted critic, The Washington Post < nowiki >'</ nowiki > s Richard L. Coe, said Davis " is splendid as the understanding widow.

The film was later described by Bosley Crowther as " interminable "; and he noted that " of all the miserable dilemmas in which Miss Davis has been involved ... this one is probably the worst ".

Among those at the film's premiere was film critic Bosley Crowther of The New York Times, who noted that " motion history was made last night ... Fantasia dumps conventional formulas overboard and reveals the scope of films for imaginative excursion ... Fantasia ... is simply terrific.

Bosley Crowther of The New York Times gave a highly favorable review and noted that the film " throbs with a rare vitality, and a masterful picture of a nation in revolutionary torment has been got by Director Elia Kazan.

Critic Bosley Crowther noted that its " striking and authentic documentary quality has been imported to the whole film in every detail, attitude and word.

" Hall and Crowther noted penile plethysmography " may be even more problematic than other in assessing susceptibility of the test to faking.

Bosley Crowther of The New York Times, favorably influenced by Brando's efforts, noted: "...

Typical of the reviews was one by Bosley Crowther of The New York Times, who noted how the film adaptation was true to the original story and was " vividly and movingly developed in this punctilious film.

Bosley Crowther of the New York Times noted, " Crawford is the height of mellifluous meanness and frank insincerity.

" Crowther noted that " so abundant the breathless events that one might forget, in the hubbub, that there is no logic in this wild-goose chase ;" he also questioned the " casual presentation of the FBI as a bunch of bungling dolts, film's general disregard of authorized agents, and slur on the navy yard police ", all of which " somewhat vitiates the patriotic implications which they have tried to emphasize in the film.

The film was a success, and The New York Times Bosley Crowther singled its star out for praise: " It is Mr. Cagney's performance, controlled to the last detail, that gives life and strong, heroic stature to the principal figure in the film.

Shortly after its premiere at the Astor Theater, New York, Bosley Crowther, film critic for The New York Times, hailed the film as a masterpiece.

Gilbert scholar Andrew Crowther comments, " Effectively, contract made and Sullivan Carte's employees – a situation which created its own resentments.

Bosley Crowther for one wrote in The New York Times, " More and more, Walt Disney's craftsmen have been loading their feature films with so-called ' live action ' in place of their animated whimsies of the past, and by just those proportions has the magic of these Disney films decreased ," citing the ratio of live action to animation at two to one, concluding that is " approximately the ratio of its mediocrity to its charm.

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.

Bosley Crowther, the film critic for The New York Times, liked the film: " But for all its unpleasant nature, it must be said that this film is a dynamic crime-and-punishment drama, brilliantly and broadly realized.

In his review in the New York Times, Bosley Crowther said the film " crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale " and added, " Mr. Wyler.

The Living Desert received some criticism for bringing unsubtle humor to its scenes of desert life – Bosley Crowther of The New York Times called Disney to task for adding jokey musical effects to several of the film ’ s scenes, including hoedown music for a sequence involving a scorpion battle.

Bosley Crowther of The New York Times called it a " tender, meticulous and explicitly narrative film " that " inclines to monotony " because of its length and devotion to " genial details.

Bosley Crowther of the New York Times observed, " Shallow, perhaps, as a study of the accumulation of power, this drama is nonetheless gripping in its expose of the intimate life of a man in his ruthless rise from poverty to fabulous position and wealth.

Bosley Crowther, reviewing the movie at its opening, had nothing but praise for the movie, rejoicing that " at last Leslie Caron's simplicity and freshness ... have been captured again in the film.

In the 1980s, Brown presented a daytime quiz show on ITV called Square One ; its success led him to recording a pilot for the prime time game show The Price Is Right but ATV selected Leslie Crowther for the full-time presenting role when the series launched.

Writing in The New York Times, Bosley Crowther praised the film, writing " Mr. Hecht has written and Mr. Hitchcock has directed in brilliant style a romantic melodrama which is just about as thrilling as they come — velvet smooth in dramatic action, sharp and sure in its characters and heavily charged with the intensity of warm emotional appeal.

Crowther used his extensive knowledge of cave exploration as a basis for the game play, and there are many similarities between the locations in the game and those in Mammoth Cave, particularly its Bedquilt section.

D. Crowther defines social accounting in this sense as " an approach to reporting a firm ’ s activities which stresses the need for the identification of socially relevant behavior, the determination of those to whom the company is accountable for its social performance and the development of appropriate measures and reporting techniques.

Upon its release in 1940, The New York Times film critic, Bosley Crowther, called the film pretentious and derivative of French and Russian films, and wrote, " John McGuire and Margaret Tallichet, as the reporter and his girl, are permitted to act half-way normal, it is true.

The religious needs of non conformists were also met in the district, including the Rehoboth Mission on the corner of Waterloo Road and Springfield Road which was demolished in the 1970s, although its Sunday School, built in 1881 on the corner of Springfield Road and Crowther Street still remains and was for a time used as a community centre for the district.

Bosley Crowther, film critic for The New York Times, lauded the film and its message in his review.

Standard Yoruba has its origin in the 1850s, when Samuel A. Crowther, native Yoruba and the first African Anglican Bishop in Nigeria, published a Yoruba grammar and started his translation of the Bible.

" Crowther said: " Fitly directed by Henry Hathaway in a crisp journalistic style and played to the hilt down to its ' bit ' parts, it makes a show of accelerating power.

Bosley Crowther was not so kind to Dangerous to Know ( 1938 ), which he called a " second-rate melodrama, hardly worthy of the talents of its generally capable cast ".

Through its long run it featured Eamonn Andrews, Max Bygraves, Leslie Crowther, Ed " Stewpot " Stewart, Joe Baker, Jack Douglas, The Balloon Man, Stu Francis, Peter Glaze, Don Maclean, Michael Aspel, Jacqueline Clarke, Rosko, Little and Large, Jan Hunt, The Krankies, Basil Brush, Geoffrey Durham, Bernie Clifton, Rod McLennan and Ronnie Corbett amongst many others.

In a review published January 6, 1963 in The New York Times by Bosley Crowther, the film was criticised for its " grisly touches " and " gruesome violence ", despite receiving praise for its screenplay with regards to its " sudden twists, shocking gags, eccentric arrangements and occasionally bright and brittle lines " as well as Donen's direction, said to be halfway between a 1930s screwball comedy and North by Northwest by Alfred Hitchcock.

Film critic Bosley Crowther liked the film and wrote, "... Miss Hayward plays it superbly, under the consistently sharp direction of Robert Wise, who has shown here a stunning mastery of the staccato realistic style.

Crowther calls Dean's performance a " mass of histrionic gingerbread " which clearly emulates the style of Marlon Brando.

Film critic Bosley Crowther gave the film a mixed review, writing, " In telling the picaresque story of a mystery writer on the trail of a Levantine bum whose career of crime in the Balkans has stimulated the writer's awe, the film wallows deeply in discourse and tediously trite flashbacks ... To be sure, the Warner schemists have poured some scabby atmosphere into this film and have been very liberal with the scenery in picturing international haunts and Balkan dives ... This sort of worldly melodrama calls for refinement in cinematic style, but the writing and direction of this picture betray a rather clumsy, conventional approach.

Bosley Crowther, the film critic for The New York Times, also liked the film, yet with a few caveats, writing, " This film, derived by Ben Maddow and John Huston from Mr. Burnett's book and directed by Mr. Huston in brilliantly naturalistic style, gives such an electrifying picture of the whole vicious circle of a crime ... that one finds it hard to tag the item of repulsive exhibition in itself.

Crowther also had a barely-concealed disdain for Joan Crawford when reviewing her films, referring to her acting style as " artificiality " and " pretentiousness ", and would also chide Crawford for her physical bearing.

When first released film critic Bosley Crowther discussed the filmmaking, writing the "... style of presentation has resulted in a drama of rare clarity and punch.

The New York Times film critic, Bosley Crowther, panned the film, writing " Although Mr. Endfield has directed the violent climatic scenes with a great deal of sharp visualization of mass hysteria and heat, conveying a grim impression of the nastiness of a mob, he has filmed the rest of the picture in a conventional melodramatic style.

Bosley Crowther of The New York Times observed, " Whether fan of the Pagnol films or stage show, whether partial to music or no, you can't help but derive joy from this picture if you have a sense of humor and a heart.