" Vincent Canby, in his review for the New York Times, wrote, " film is not to be analyzed too solemnly, though.

New York Times film critic Vincent Canby, who a decade before had given a negative review to Ghidorah, the Three-Headed Monster, gave Godzilla vs. Megalon a generally positive review.

* Canby, Vincent.

Vincent Canby of the New York Times was similarly unimpressed :" Though special-effects experts in Japan and around the world have vastly improved their craft in the last 30 years, you wouldn't know it from this film.

About the Fiennes Hamlet Vincent Canby wrote in The New York Times that it was "... not one for literary sleuths and Shakespeare scholars.

In the words of critic Vincent Canby, " Jarmusch's movies have the tempo and rhythm of blues and jazz, even in their use – or omission – of language.

In a 1989 review of his work, Vincent Canby of The New York Times called Jarmusch " the most adventurous and arresting film maker to surface in the American cinema in this decade ".

* 1924 – Vincent Canby, American film critic ( d. 2000 )

New York Times critic Vincent Canby referred to the film as a " junk movie " as well as " spare, uncluttered, but really silly ".

Time magazine drew attention to the film's wooden acting, especially on the part of Eastwood, though a few critics such as Vincent Canby and Bosley Crowther of The New York Times praised Eastwood's coolness in playing the tall, lone stranger.

The New York Times critic Vincent Canby criticized the film but wrote, " The only nice thing is Sharon Tate, a tall, really great-looking girl ".

Yet Robert Hatch in The Nation thought it as " excellent a filming of the play as one can expect " and Vincent Canby in The New York Times called it " an exalting Lear, full of exquisite terror ".

Vincent Canby of The New York Times described the play as " Tom Stoppard's richest, most ravishing comedy to date, a play of wit, intellect, language, brio and, new for him, emotion " but many New York reviews were mixed or unfavourable, citing anachronisms and a lack of realism in Stoppard's conception.

In his review for The New York Times, Vincent Canby, while quite critical of the film overall, praised Douglas ' work as " the funniest, canniest performance of his career ".

The New York Times Vincent Canby preferred Annie Hall to Allen's second directorial effort, Take the Money and Run, since the former is more " humane " while the latter is more a " cartoon ".

In his review in The New York Times, Vincent Canby called the film " an uproarious display of brilliance, nerve, dance, maudlin confessions, inside jokes and, especially, ego " and " an essentially funny movie that seeks to operate on too many levels at the same time ... some of it makes you wince, but a lot of it is great fun ... A key to the success of the production is the performance of Roy Scheider as Joe Gideon ... With an actor of less weight and intensity, All That Jazz might have evaporated as we watched it.

" Vincent Canby, who saw the film at its Festival debut, called it a " cool, sometimes brilliant, always ferociously American film "; according to Canby, " Sheen and Miss Spacek are splendid as the self-absorbed, cruel, possibly psychotic children of our time, as are the members of the supporting cast, including Warren Oates as Holly's father.

* Criterion Collection essay by Vincent Canby

Vincent Canby of The New York Times similarly observed that the film " freely recycles elements from [...] Peter Pan and The Wizard of Oz ".

" Vincent Canby in the New York Times hailed it as a " kind of lethal drawing-room comedy.

When the film was first released, Vincent Canby, film critic for The New York Times, lauded the film and wrote, "... documentary feature about four door-to-door Bible salesmen who move horizontally through the capitalistic dream.

Vincent Canby, in an " NYT Critics ' Pick " review of the documentary, called McElwee a " film maker-anthropologist with a rare appreciation for the eccentric details of our edgy civilization "; the film " which was made in 1981, is a timely memoir of the 80's.

Although the critic Vincent Canby described it in 1987 as " that invisible screen that forever separates the audience from the stage ," postmodern art forms frequently either do away with it entirely, or make use of various framing devices to manipulate it in order to emphasize or de-emphasize certain aspects of the production, according to the artistic desires of the work's creator.

Vincent Canby began his review by calling the film " very beautiful and the first truly interesting American-made Western in years.

In a brief review, Vincent Canby wrote that it was " not exactly incoherent, but whatever it originally had on its mind seems to have slipped away ".

Vincent Canby, in his November 1976 review of the film for The New York Times, called the film " outrageous ... brilliantly, cruelly funny, a topical American comedy that confirms Paddy Chayefsky's position as a major new American satirist " and a film whose " wickedly distorted views of the way television looks, sounds, and, indeed, is, are the satirist's cardiogram of the hidden heart, not just of television but also of the society that supports it and is, in turn, supported.

" Vincent Canby's review for The New York Times praised Martin's performance: " the film has an actor who's one of America's best sketch artists, a man blessed with a great sense of timing, who is also self-effacing enough to meet the most cockeyed demands of the material.

" Vincent Canby, of the New York Times, gave the film a highly favorable review, going as far as to say that it " sets new standards for Mr. Allen as well as for all American movie makers.

In his review for The New York Times, Vincent Canby wrote, " As the fast-talking Aaron, Albert Brooks comes very close to stealing Broadcast News.

In his review for the New York Times, Vincent Canby wrote that Buckaroo Banzai " may well turn out to be a pilot film for other theatrical features, though this one would be hard to top for pure, nutty fun ".

In his review for The New York Times, Vincent Canby wrote, " It's by far the best thing he's ever done ", referring to Nicholson's performance.

In his review in the New York Times, Vincent Canby observed, " new, remarkably self-assured comedy is to his career what.

When the film was released, Vincent Canby, film critic for The New York Times, gave the film a positive review, writing, " Early in The Forbin Project, Colossus, a supercomputer that controls the United States ' military defense system, goes into an unprogrammed rage and launches a missile toward the Soviet Union.

A review of the exhibition by curator Everl Adair noted the influence of Vincent Van Gogh and Georgia O ' Keeffe on her paintings and concluded that her surviving corpus of art " represents the work of a talented, visionary woman who rose above tremendous odds to create a fascinating body of work — one that inspires us to celebrate the life that might have been.

In his review for the New York Times, Vincent Canby called the film a " surprisingly cheesy horror film to come from Mr. Carpenter, a director whose work is usually far more efficient and inventive.

The film received a mixed-to-negative review in The New York Times, with Vincent Canby saying " Staying with it through its almost three-hour running time becomes increasingly nerve-racking, like watching superimposed images that never synchronize.

Debussy's friend Paul Dukas lauded the opera, Romain Rolland described it as " one of the three or four outstanding achievements in French musical history ", and Vincent d ' Indy wrote an extensive review which compared the work to Wagner and early-17th-century Italian opera.

In a review in The New York Times, film critic Vincent Canby praised her for a " ravishing performance ".

In his review for The New York Times, Vincent Canby wrote, " Had Mr. Cronenberg settled simply for horror, as John Carpenter did in his classic Halloween ( though not in his not-so-classic The Fog ), Scanners might have been a Grand Guignol treat.

review of Vincent Persichetti: The Louisville Orchestra for Sequenza21. com

Mathieu Kassovitz's 1995 film Hate ( La Haine ) received critical praise and made Vincent Cassel a star, and in 1997, Juliette Binoche won the Academy Award for Best Supporting Actress for her role in The English Patient.

* Most Inane Technical Advance: Percepto, designed by William Castle for his 1959 film, The Tingler starring Vincent Price.

* Vincent Gardenia played him in the television film Kennedy ( 1983 ).

( 1970 ) with several horror features: The Abominable Dr. Phibes ( 1971 ), with Vincent Price, and Soylent Green ( 1973 ), the last film featuring Edward G. Robinson.

* Underground ( 1941 film ), a war drama by Vincent Sherman

The film would have starred Michael Madsen and John Travolta reprising their roles of Vic ( Mr. Blonde ) from Reservoir Dogs and Vincent from Pulp Fiction.

The film was later remade by Roger Corman in 1962, starring Vincent Price as Richard ( Price had played Clarence in the earlier version ).

Despite his having died at the age of 32, Richard is often depicted as being considerably older: Basil Rathbone, in the Tower of London, and Peter Cook were both 46 when they played him, Laurence Olivier was 47 ( in his 1955 film ), Vincent Price was 51, Ian McKellen was 56 as was Pacino in his 1996 film ( although Pacino was 39 when he played him on Broadway in 1979, and Olivier was 37 when he played him on stage in 1944 ).

She remarked in an interview that starring in the film was a positive experience for her, although she admitted that horror movies terrified her, particularly Vincent Price's House of Wax ( 1953 ).

* The 1961 film The Pit and the Pendulum directed by Roger Corman starring Vincent Price and Barbara Steele, like the other installments in the Corman / Price " Poe Cycle ", bears minimal resemblance to the Poe story: the torture apparatus of the title makes its appearance only in the final 10 minutes of the film.

While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film based on a poem written by the filmmaker, and depicting a young boy who fantasizes that he is his ( and Burton's ) hero Vincent Price, with Price himself providing narration.

The film contains this quotation from the Stephen Vincent Benét poem " Song for Three Soldiers ":

The hotel has been a home to actors and film directors such as Stanley Kubrick, Jonas Mekas ( was long-time resident from 1967 to 1974 ), Shirley Clarke, Mitch Hedberg, Dave Hill, Miloš Forman, Lillie Langtry, Ethan Hawke, Dennis Hopper, Vincent Gallo, Patricia Chica, Eddie Izzard, Uma Thurman, Elliott Gould, Elaine Stritch, Michael Imperioli, Jane Fonda, Gaby Hoffmann and her mother, the Warhol film star Viva, and Edie Sedgwick.

* He was portrayed by Vincent Price in 1939 horror film Tower of London.