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Film and critic
* 1967 – Film critic Roger Ebert published his very first film review in the Chicago Sun-Times.
Love received critical acclaim, a Golden Globe nomination for Best Actress, and a New York Film Critics Circle Award for Best Supporting Actress, for what film critic Roger Ebert called " quite a performance ; Love proves she is not a rock star pretending to act, but a true actress ".
Film critic David Thomson has stated: " Marker told me himself that Mongolia is correct.
" Film critic Matthew Hays notes that " no other persona better signifies the lost idealism of the 1960s than that of Dennis Hopper.
Film critic Roger Ebert gave the film three-and-a-half stars out of four, calling it " delightful and sly ", and directed with " light-hearted enchantment " by Newell.
Film critic John Raeburn discusses an early Capra film, American Madness ( 1932 ), as an example of how he had mastered the movie medium and expressed a unique style:
Film critic John Belton called the film Hawks's " most organic comedy.
Film critic Robin Wood has said if he " were asked to choose a film that would justify the existence of Hollywood ... it would be Rio Bravo.
Film critic David Thomson wrote of Hawks in The New Biographical Dictionary of Film " Far from the the meek purveyor of Hollywood forms, he always chose to turn them upside down, To Have and Have Not and The Big Sleep, ostensibly an adventure and a thriller, are really love stories.
" Indeed, his relationship with the hermit has been interpreted as a same-sex marriage that heterosexual society will not tolerate: " No mistake — this is a marriage, and a viable one ", writes cultural critic Gary Morris for Bright Lights Film Journal.
Before going into film-making, Anderson was a prominent film critic writing for the influential Sequence magazine ( 1947 – 52 ), which he co-founded with Gavin Lambert and Karel Reisz ; later writing for the British Film Institute's journal Sight and Sound and the left-wing political weekly the New Statesman.
" Film critic Raja Sen describes Dixit as " the industry's numero uno in every sense.
Her performance was well received by critics, with BBC film critic Brandon Graydon saying that Cruz " is an enchanting screen presence ," and Ethan Alter of the Film Journal International noting that Cruz and her co-star Cruise were " able to generate some actual chemistry.
A Film Daily critic commented, " This is a pearl of a horror picture which exhibits all the earmarks of a sleeper.
Film critic Roger Ebert speculates in his review that the sequence introducing the leader Kambei ( in which the samurai shaves off his topknot, a sign of honor among samurai, in order to pose as a monk to rescue a boy from a kidnapper ) could be the origin of the practice, now common in action movies, of introducing the main hero with an undertaking unrelated to the main plot.
Film critic Roger Ebert gave the film four out of four stars, calling it " an amazingly entertaining thriller " and " one of the best films so far this year ", with a " wonderful " ending.
Film critic Roger Ebert lauded the film, stating that Brando and Kazan changed acting in American movies forever and then adding it to his " Great Movies " list.
" Film critic David Richard Jones adds that Kazan, during the 1940s and 1950s, was one of America's foremost Stanislavskians, and " influenced thousands of contemporaries " in the theatre, film, and the Actors Studio that he helped found.
Film critic Marie Brenner writes that " for De Niro, it is a role that surpasses even his brilliant and daring portrayal of Vito Corleone in The Godfather, part II, ... performance deserves to be compared with the very finest.
Film critic David Shipman called Muni " an actor of great integrity " and he prepared for his roles meticulously.
Film critic Roger Ebert wrote that the book was " banal ," and that " The Little Engine That Could is, by comparison, a work of some depth and ambition.
Film critic Paul Rotha said that it " definitely established the film as an independent medium of expression ... Everything that had to be said ... was said entirely through the camera ... The Last Laugh was cine-fiction in its purest form ; exemplary of the rhythmic composition proper to the film.
Film critic Bosley Crowther wrote, " Mr. Tracy and Miss Hepburn are the stellar performers in this show and their perfect compatibility in comic capers is delightful to see.
* Michael Winner, Film director and producer, restaurant critic

Film and Bosley
Film critic Bosley Crowther lauded the film and wrote, " The eminent director, John Ford, is a man who has a way with a Western like nobody in the picture trade.
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.
* Film review by Bosley Crowther-New York Times-March 28, 1958
Film critic Bosley Crowther of the New York Times stated in a review of the film " An absolute knockout of a movie in the psychological horror line has been accomplished by Roman Polanski in his first English-language film.
Film critic Bosley Crowther gave the film a harsh review based on the screenplay.
Film critic Bosley Crowther gave the film a mixed review and was not impressed by Bogart's performance but was by Bacall's work.
Film critic Bosley Crowther liked the film, writing, " It's a brutal and disagreeable story, probably a little far-fetched, and without Mr. Schulberg's warmest character — the wistful widow who bestowed her favors on busted pugs.
Film critic Bosley Crowther, while having problems with the script, liked the location shooting and wrote, " Thanks to the actuality filming of much of its action in New York, a definite parochial fascination is liberally assured all the way and the seams in a none-too-good whodunnit are rather cleverly concealed.
Film critic Bosley Crowther wrote, " Not having intimate knowledge of prisons or prisoners, we wouldn't know whether the average American convict is so cruelly victimized as are the principal prison inmates in Brute Force, which came to Loew's Criterion yesterday.
Film critic Bosley Crowther lauded the film and the acting, writing, " Cornered is a drama of smoldering vengeance and political scheming which builds purposefully and with graduating tension to a violent climax, a committing of murder that is as thrilling and brutal as any you are likely to encounter in a month of movie-going.
Frank Beaver wrote in Bosley Crowther: Social Critic of the Film, 1940-1967 that Crowther opposed displays of patriotism in films and believed that a movie producer " should balance his political attitudes even in the uncertain times of the 1940s and 1950s, during the House Un-American Activities Committee.
The career of Bosley Crowther is discussed at length in For the Love of Movies: The Story of American Film Criticism, including his support for foreign-language cinema and his public repudiation of McCarthyism and the Blacklist.
* Bosley Crowther: Social Critic of the Film, 1940-1967 by Frank Eugene Beaver, Ayer Publishing, 1974.

Film and liked
Film critic Emanuel Levy liked the film and wrote, " The movie became influential, launching a cycle of " reunion " films, which included The Big Chill and the TV series Thirtysomething.
Film critic Lisa Kropiewnicki liked the film and wrote, " Jennifer Lopez delivers a breakout performance ... Nava's engaging script wisely mines his subject's life for humor and conflict, embracing Selena Quintanilla's passion for music.
" Film critic James Berardinelli also liked the film and the screenplay, writing, " It would have been easy to trivialize Selena's story, turning it into a sudsy, made-for-TV type motion picture.
Film critic Dennis Schwartz liked the documentary, yet believed it provided only one point of view.
This was solved by employing Andrew Keir, who had played Quatermass in the Hammer Film Productions version of Quatermass and the Pit in 1967, a performance which Kneale had liked.
Film critic Dan Schneider liked the film especially the casting of new actor Pierre Blaise by Louis Malle.
Film critic Roger Ebert liked the film's direction, and wrote " Bill Forsyth's Gregory's Girl is a charming, innocent, very funny little movie about the weird kid.
Film critics Frederic and Mary Ann Brussat, who write for the web based Spirituality and Practice, liked the film, the acting and the direction of the film.
Film critic Roger Ebert liked the film and the characters but gave it a mixed review:
Film critic Dennis Schwartz liked the film and wrote, " Inferno loses something when not seen in 3-D as intended when released, nevertheless it remains as a taut survival thriller.
Film critic Dennis Schwartz also liked the film, writing, " The film was suspenseful, ably directed by Lang, and filled with all kinds of Freudian psychological interpretations about sexual repressions.
Film critic Pamela Troy liked the acting in the film and wrote, " Much more than a whistle blowing thriller, this beautifully made film is a powerful critique of profit-making over concern for human life.
When the film was screened in New York City in 2006 as part of Film Forum's festival devoted to the " B Noir " films of the 1940s and 1950s, film critic Ed Gonzalez for Slant magazine, reviewed the film and found he liked the picture's mise en scène and screenplay, writing, "... Side Street is a triumph of visual savvy and moral exactitude —- a scurrying spectacle of dog-cat-and-mouse throughout the veiny streets of New York City.
Film critic Roger Ebert liked the screenplay of the film, and wrote, " And on and on, around and around, in an elegant and sly deadpan comedy.
Film critic Dennis Schwartz also liked the film and wrote, " The downbeat sports drama is a marvelous understated character study of the marginalized leading desperate lives, where they have left themselves no palpable way out.
Film audiences repeatedly recognized certain performers in movies that they liked.
Jonathan Holland, film critic for Variety magazine and reporting from the San Sebastián International Film Festival, liked the film and wrote, " Argentine helmer Adolfo Aristarain turns a compassionate eye toward his own spiritual and political education in the rangy, quietly affecting and rewardingly intense Roma, his most achieved work to date.
Film critic Dennis Schwartz liked the film and wrote, " Arnold Laven ... does a solid job helming this serial killer slasher flick.

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