While lauded for her achievements, Davis and her films were sometimes derided ; Pauline Kael described Now, Voyager ( 1942 ) as a " shlock classic ", and by the mid-1940s her sometimes mannered and histrionic performances had become the subject of caricature.

Pauline Kael had problems with the chemistry between the three lead actors: " Murray is the film's comic mechanism ...

In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her tome, The Citizen Kane Book, had caused an “ idiotic controversy ” over the issue:

In looking back on his early films, Kael writes that Mankiewicz had, in fact, written ( alone or with others ) " about forty of the films I remember best from the twenties and thirties.

" Except for this coauthor award, the Motion Picture Academy excommunicated Orson Welles ... as Pauline Kael put it, ' The members of the Academy ... probably felt good because their hearts had gone out to crazy, reckless Mank, their own resident loser-genius.

However, Pauline Kael greatly preferred Boorman's sequel to the original, writing in her review in The New Yorker that Exorcist II " had more visual magic than a dozen movies.

Her film career never fully recovered, and she struggled to find roles of the caliber she had previously enjoyed, though film critic Pauline Kael gave her good notices for her performances in Alan Alda's Sweet Liberty ( 1986 ).

According to Pauline Kael, " Huston directed the movie, at eighty, from a wheelchair, jumping up to look through the camera, with oxygen tubes trailing from his nose to a portable generator ; most of the time, he had to watch the actors on a video monitor outside the set and use a microphone to speak to the crew.

After visiting his parents in Santa Barbara, California, one last time in early July, as well as his friend, the literary critic Hugh Kenner, Kees returned to San Francisco and had dinner with various friends, including Pauline Kael, who appeared as a guest on Kees ’ s film review program on KPFA-FM, Behind the Movie Camera.

" Noted film critic Pauline Kael gave the production and Olivier's portrayal one of her most glowing reviews, shaming the major movie studios for giving Olivier so little money to make the film that he and the public had to be content with what was almost literally a filmed stage production, while other films received multimillion dollar budgets.

Some of these, on the National Guard, Biafra, Pauline Kael, soap operas, the impeachment inquiries ( of both Richard Nixon and Bill Clinton ), and the press, had received awards.

The venerable Crowther had been no favorite among this group ; in 1964, Kael sarcastically praised his " reverse acumen that makes him invaluable.

All directed by Lubitsch, the three were “ Trouble in Paradise ,” “ Heaven Can Wait ,” and Raphaelson ’ s favorite, “ The Shop Around the Corner ” which had starred James Stewart and Margaret Sullivan and which Kael wrote was “ as close to perfection as a movie made by mortals is ever likely to be ; it couldn ’ t be the airy wonder it was without the structure Raphaelson built into it .” ( The story was remade in 1998 as “ You ’ ve Got Mail ,” with Tom Hanks and Meg Ryan.

Film critic Pauline Kael found the film unsatisfactory, but noted that it had influenced Citizen Kane.

Film critic Pauline Kael had this to say of that performance: " Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror.

Michel Simon called Boudu a pique-assiette, a sponger, while the writer Richard Boston rejected the idea that Boudu had much in common with the hippies of the late 1960s, as Pauline Kael had suggested.

Despite receiving some negative reviews and a mixed, but complimentary review from the New York Times and one from Pauline Kael, the film was nominated for ten Academy Awards and won the award for best costumes.

Noted critic Pauline Kael wrote that, allegedly, " the starving extras made away with some of the banquets before they could be photographed ".

At the beginning of the sound era he was one of the highest-paid writers in the world, because, Kael writes, " he wrote the kind of movies that were disapproved of as " fast " and immoral.

According to Kael, Mankiewicz did not work on every kind of picture.

According to Pauline Kael, Mankiewicz didn ’ t work on every kind of picture.

Although several reviews were critical of the film – Pauline Kael said it " staggers along " and Stanley Kauffmann thought Cukor's direction was like " a rich gravy poured over everything, not remotely as delicately rich as in the Asquith-Howard 1937 Pygmalion " — the film was a box office hit which won him the Academy Award for Best Director, the Golden Globe Award for Best Director, and the Directors Guild of America Award after having been nominated for each several times.

According to film critic Pauline Kael, " Brando represented a reaction against the post-war mania for security.

As critic Pauline Kael later wrote, he " seems an unlikely choice for the ghetto-born lawyer ... but this is one of the few screen roles that reveal his measure as an actor.

Kael called the film " shallow and facetious, a piece of gonzo demagoguery that made me feel cheap for laughing ".

Not all reviews were positive: Pauline Kael in The New Yorker, in a review subtitled " Hot Air ", criticized the film's abundance of long, preachy speeches ; Chayefsky's self-righteous contempt for not only television itself but also television viewers ; and the fact that almost everyone in the movie, particularly Robert Duvall, has a screaming rant: " The cast of this messianic farce takes turns yelling at us soulless masses.

Film critic Pauline Kael wrote, " I didn't find it hard to accept the uninflected, deadpan tone, and to enjoy Buckaroo Banzai for its inventiveness and the gags that bounce off other adventure movies, other comedies.

The film critic Pauline Kael called it " the high-fashion experimental film, the snow job at the ice palace ... back at the no-fun party for non-people ".

It was met with rave reviews from Pauline Kael and other top film critics, and Le Mat was nominated for a Golden Globe Award.

Writing for The New Yorker, Pauline Kael wrote that " Raising Arizona is no big deal, but it has a rambunctious charm.

( Pauline Kael attributed Kanes screenplay to Mankiewicz in an essay for which she did not interview Welles and has since been hotly disputed by Welles and Peter Bogdanovich.

Pauline Kael noted that Shangri-La was depicted as: a middle-class geriatric utopia ... you can live indefinitely, lounging and puttering about for hundreds of years ... the Orientals are kept in their places, and no blacks ... are among the residents.

Her talent for impersonation was key in her humorous portrayals of such luminaries as Barbra Streisand, Ethel Merman, Arlene Francis, Pauline Kael, Sally Field, Sophia Loren, Beverly Sills, Lynn Redgrave, Linda Lavin, Bernadette Peters, Liza Minnelli, Connie Francis, Mother Teresa, Alice B. Toklas, Patti Smith, Brenda Vaccaro and Indira Gandhi.

He later discovers that Kael ' thas was helped by the Naga and imprisons the blood elves for this.

It exploits the personal style of its stars to insinuate itself ; Kael is unfair to Turner, who in her debut role played a woman so sexually confident that we can believe her lover ( William Hurt ) could be dazed into doing almost anything for her.

Pauline Kael, a harsh critic of Eastwood for many years mocked his performance as Dirty Harry, commenting that, " He isn't an actor, so one could hardly call him a bad actor.

Pauline Kael and Bosley Crowther have claimed that the ending was used for John Huston's film Key Largo ( 1948 ); Kael also said that " One Trip Across " was made into The Gun Runners ( 1958 ).

The film critic Pauline Kael wrote of her performance as writer Joan Wilder, " Turner knows how to use her dimples amusingly and how to dance like a woman who didn ’ t know she could ; her star performance is exhilarating.

Pauline Kael wrote that much of Mankiewicz's vision of " the theater " was " nonsense " but commended Davis, writing " film is saved by one performance that is the real thing: Bette Davis is at her most instinctive and assured.

" Pauline Kael wrote in The New Yorker: " Peters is mysteriously right in every nuance.

Pauline Kael later commented of Goddard, " she is a stand-out.

Kael, in particular, truly loved the film, noting " I don't think I've ever before seen a movie that was a comic-strip great romance in the way this one is — it's a joke that can make you cry.

Slate music critic Jody Rosen describes Christgau's writing as " often maddening, always thought-provoking ... With Pauline Kael, Christgau is arguably one of the two most important American mass-culture critics of the second half of the 20th century.

Kael drew attention to the innocence of the characters in film and the artist merit of the contrast with the violence in the film: “ In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde.

Pauline Kael gave the film a very positive review in The New Yorker: " Jonathan Demme's lyrical comedy Melvin and Howard which opened the New York Film Festival on September 26, is an almost flawless act of sympathetic imagination.

In The New Yorker the critic Pauline Kael wrote that-" Watching Thérèse is like looking at a book of photographs of respectfully staged tableaux and not being allowed to flip the pages at your own speed.

Pauline Kael of The New Yorker wrote: " The movie is full of talented people, who [...] are fun to watch, but after a while the scenes that don't point anywhere begin to add up, and you start asking yourself: ' What is this movie about?

Thirty years later, Kael is found floating in the sea of the Blue Divide ; a map is found with him, covered with mysterious symbols.

Writing about the film in Harpers Magazine in 1969, the critic Pauline Kael declared it, " hell to watch for the first hour ... exciting to think about after because its one good sequence, the long picture-postcard sequence near the end, is so incredible and so brilliantly prolonged.

Elvis Mitchell is featured in the 2009 documentary film For the Love of Movies: The Story of American Film Criticism discussing how he was championed as a young writer by Pauline Kael, and the impact on him as an adolescent of the Herschell Gordon Lewis film, Two Thousand Maniacs !.