* Emile Vuillermoz, music critic

Two years later, the Paris Salon accepted his work for its exhibition, and he received acclaim from critic Charles Baudelaire and later on from Emile Zola.

Polyvision is the name that French film critic Émile Vuillermoz gave to a specialised widescreen film format devised exclusively for the filming and projection of Gance's Napoléon.

In 1921, his Scènes d ' enfants ( 1915 – 18 ), performed by Motte-Lacroix, inspired the French critic Émile Vuillermoz to proclaim Mompou " the only disciple and successor " to Claude Debussy.

Some historians have found his point of view not to their taste, others have complained that he makes the Tory tradition appear `` contemptible rather than intelligible '', while a sympathetic critic has remarked that the `` intricate interplay of social dynamics and political activity of which, at times, politicians are the ignorant marionettes is not a field for the exercise of his talents ''.

In the Impressionist exhibit of 1876 however, art critic Albert Wolf complained in his review, “ Try to make M. Pissarro understand that trees are not violet, that sky is not the color of fresh butter.

One Thai critic complained that the film-makers had made Mongkut " appear like a cowboy "; this version was also banned by censors in Thailand.

The young critic, George Bernard Shaw, complained that German's symphonies were limited by the composer's indulgence in a theatricality out of place in symphonic writing.

The critic for Time magazine referred to previous criticism of Fleming and thought that " in Fleming's latest Bond bombshell, there are disquieting signs that he took the critics to heart " when they complained about " the consumer snobbery of his caddish hero ".

After his first piano sonata was premiered, a critic complained that it was " too Norwegian ".

New York Times critic Howard Taubman praised the songs, but complained about a " dragging book " and said " The wages of virtue, alas, are largely dullness.

Debates into its meaning were intense and relentless ; the play's most vocal critic complained not only of the play's nonsensical phrasing but also its frequent use of semicolons.

Italian critic Guido Aristarco praised it, but also complained that " sentimentality might at times take the place of artistic emotion.

Editor and critic George Ripley liked the play's " native " scenes and " beautiful characters " but complained that Priscilla's speeches sounded like dense orphic sayings and that Longfellow could not capture the " Yankee realism of speech ".

One hostile critic complained in 1793 that his letters were left unanswered by Fitzherbert, and in the following year he was described by the first Lord Malmesbury as very friendly, but insouciant as to business and not attentive enough for his post.

After Carmen, the critic of The Times complained that " Mr Harty's rigid beat and inflexible tempi petrified delicate and fragile phrases, and made them sound like quotations from some forgotten German score.

Private Eyes anonymous critic complained that each Gardner book takes " Bond a further step or two away from the tall, resourceful ladykiller who first appeared in Casino Royale, and that " the real Bond atmosphere has been dead for upwards of 30 years.

They are Japanese-garden fiction with every pebble in place .” A critic for The Atlantic Monthly similarly complained that Brodkey “ appears to be the kind of artist committed to working in the minor key which The New Yorker has made fashionable .”

Both the dead soldier and the howitzer drew particular comment ; art critic Selwyn Image complained about having any sort of artillery gun on the monument, whilst Lord Curzon was quoted as describing the howitzer as " a toad squatting, which is about to spit fire out of its mouth ... nothing more hideous could ever be conceived ".

The art critic Geoffrey Grigson echoed the comments of Lord Curzon, when he complained in 1980 that the memorial was a " squat toad of foolish stone ".

Also in 2005, German food critic Wolfram Siebeck visited the restaurant complained of the delays in service and of several of the dishes, described the mustard ice cream in a red cabbage gazpacho soup as a " fart of nothingness ", while chef Nico Ladenis said of the restaurant, " Someone who makes egg and bacon ice cream is hailed a genius.

Musical critic Andrew Clements writing for The Guardian commented on Ravel's failures at winning the competition: " Ravel's repeated failure to win the Prix de Rome, the most coveted prize for young composers in France at the turn of the 20th century, has become part of musical folklore.

On the other hand, a New York Times critic in 1932 called the Duo for violin and cello ( 1925 ) " long-winded and even insincere ", while a performance in 2012 noted it was dedicated to Janacek, evokes Ravel's Sonata for Violin and Cello and " blends folk and contemporary elements " while employing " a range of sonorities and effects like dramatic pizzicatos " while " vivacious Hungarian fiddle playing enlivens the Zingaresca movement ".

Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she, " tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years.

One critic described the show as " a hyped-up, violent Dragnet ... with a hard-as-nails Marvin " playing a tough police lieutenant.

In her next-to-last movie, Hellcats of the Navy ( 1957 ), she played nurse Lieutenant Helen Blair and shared the screen for the only time with her husband, playing what one critic called " a housewife who came along for the ride ".

Though DiCaprio's performance was generally well-received, with Entertainment Weekly critic Owen Gleiberman writing that " the shockingly androgynous DiCaprio looks barely old enough to be playing anyone with hormones, but he's a fluid and instinctive actor, with the face of a mischievous angel ," he was awarded a Golden Raspberry Award for Worst Screen Couple for both incarnations the following year.

They believed that the band's endless rehearsals and according to critic Amy Lee in Metronome magazine, " letter-perfect playing ", diminished any feeling from performances.

In 1958, he won an Obie Award for his performances in Children of Darkness ( in which he made the first of many appearances opposite his future wife, actress Colleen Dewhurst ), for As You Like It, and for playing the title character in William Shakespeare's Richard III ( a performance one critic said was the " angriest " Richard III of all time ).

The music critic Tom Sutcliffe later wrote that Doráti and his successors, Colin Davis ( 1967 – 71 ), Pierre Boulez ( 1971 – 75 ) and Gennady Rozhdestvensky ( 1978 – 81 ) had been partly successful in improving playing standards, but had not the brought the orchestra up to its original level of distinction.

In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that " of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself.

According to the critic W J Turner the LSO's problem was not that its playing had deteriorated, but that it had failed to keep up with the considerable improvements in playing achieved over the past two decades by the best European and American orchestras.

West made his London stage debut in February 1989 at the Orange Tree Theatre, playing Michael in Cocteau's Les Parents Terribles, of which critic John Thaxter wrote: " He invests the role with a warmth and validity that silences sniggers that could so easily greet a lesser performance of this difficult role, and he lets us share the tumbling emotions of a juvenile torn between romantic first love and filial duty.

* In a 10 March 2011 Mail Online article titled " Nobody could do this better ", critic Quentin Letts gave a five-star review to Hugh Osborne's " supberb " stage adaptation, featuring " three male actors Daws, Peter Forbes, and Steven Blakeley playing a variety of roles — of both sexes ".

A concert in Leipzig in December 1804 brought the influential music critic Friedrich Rochlitz " to his knees ," not only because of Spohr's playing but also because of his compositions.

New York Times film critic, Janet Maslin, thought the film was rather simple, and wrote, " Stiffly playing a filmmaker with a growing passion for the tango, Potter makes this a handsome, dryly meticulous film with no real fire anywhere beyond its supple dance scenes.

In 1950 critic and musicologist Irving Kolodin said about the Ballade in F minor of Chopin played by Moiseiwitsch: " A featherweight touch in the opening section of this work, an apt feeling for its " once upon a time " narrative quality give Moiseiwitsch pre-eminence among present day interpreters ...", thus summing up the sensitivity of the playing by Benno Moiseiwitsch.

One critic from Channel 4 wrote, " Koirala ... demonstrates the full range of her acting ability, rather than playing against it as she has had to do in more traditional films.

The Well received mixed reviews ; critic Paul Fisher wrote that Otto's performance was not " convincing " as she was " playing another repetitious character about whom little is revealed ", while Louise Keller stated that Otto had delivered " her best screen performance yet.

Although the film received only slightly favorable reviews, Darnell's performance was received positively, with one critic saying: " Despite her apparent youth, turns in an outstanding performance when playing with popular players.

Bednarik has been an outspoken, even bitter critic of today's NFL players for playing on only one side of the ball, calling them " pussyfoots ", noting that they " suck air after five plays " and that they " couldn't tackle my wife Emma ".

Music critic Michael Steinberg has praised his continuo playing.

To conventional Western sensibilities, some of his passages may sound ' out-of-tune '- but there is a consistent, internal logic to his unorthodox playing ; critic Charlie Wilmoth describes Maneri's playing as " a slippery, space-filled alien blues ".

One critic writes that Ravenstine " may be one of the all-time great synth players " and his playing has been called " utterly original ".

From October 2006 through May 2007, he was featured in the first two parts of The Coast of Utopia by Tom Stoppard at Lincoln Center, playing literary critic Vissarion Belinsky, for which he received another Tony Award nomination and subsequent win.

" Although the band has been playing together longer, the charm has gone out of their exchanges ," writes music critic Tim Riley.