Critic Richard Hennessy complained in Artforum about the East Building's " shocking fun-house atmosphere ".

Critic Richard Lehan says that " Balzac was the bridge between the comic realism of Dickens and the naturalism of Zola.

Critic Mike Gee of iZINE said of this time, " The Verve, as he ( Richard Ashcroft ) promised, had become the greatest band in the world.

Sheridan had a rivalry with his fellow playwright Richard Cumberland and included a parody of Cumberland in his play The Critic.

* Richard Brinsley Sheridan-The Critic

Richard E. Geis has won 6 of 14 nominations for his work on Science Fiction Review, Psychotic, and The Alien Critic ; Mike Glyer has won 6 of 29 for editing File 770 ; David Langford has won 5 of 12 for work on Ansible and Twil-Ddu ; and Richard Lynch and Nicki Lynch have both won 6 of 14 nominations for Mimosa.

Critic Nick Schager wrote, " It would be no surprise to learn that Richard Widmark was a big ' Batman ' fan, as his star-making screen debut in Kiss of Death as grinning, cackling psychopath Tommy Udo ( for which he received an Academy Award nomination ) seems heavily indebted to the Caped Crusader's arch-nemesis The Joker.

" Critic Richard Delap writes " There is an abundance of exploitable elements in Bishop's story, so it is astonishing to see how the author keeps them under strict rein, always with a highly keyed visual sense but also with a literary flair that says more by implication than by direct description.

Critic Roger Ebert gave the film three stars, stating " When you hear that Dr. T is a gynecologist played by Richard Gere, you assume he is a love machine mowing down his patients.

In fact, the trend toward absurdly lofty bombast and sentiment was so strong that Richard Brinsley Sheridan reworked The Rehearsal for his play, The Critic ( 1779 ), where the target was the inflated importance and prose of theater criticism.

Critic Richard Skorman wrote, " Forsyth does a good job of making light of the tender part in teenage psyche, and his friends and little sister in particular are quirky and lovable.

Together with producing partner Arthur Cantor and Washington Post Critic Emeritus Richard L. Coe, they presented a plan to the first lady of the American theatre and native Washingtonian, Helen Hayes, who wholeheartedly embraced the idea of her namesake awards honoring theatrical excellence in her hometown.

Returning to England in 1911, Tempest joined a star-studded cast for Herbert Beerbohm Tree's production of The Critic by Richard Brinsley Sheridan, also starring Arthur Bourchier, C. Hayden Coffin, Lily Elsie, George Grossmith, Jr., Charles Hawtrey, Cyril Maude, Gerald Du Maurier, Gertie Millar, Edmund Payne, Courtice Pounds, Violet Vanbrugh and Arthur Williams, among others.

Critic Richard C. Carpenter discussed it in Twentieth Century Crime and Mystery Writers:

Gilder was associated with her brother, Richard Watson Gilder, in the editorship of Scribner's Monthly ( later called the Century ), and was joint editor with her brother Joseph Benson Gilder of the Critic from 1881 to 1906.

Critic Richard Eder did not like the film much.

The visitor was supposed to help them converse by typing in to ' Artist ' what ' Critic ' said, and vice versa.

Critic and musicologist Robert Palmer said their endurance and relevance stems from being " rooted in traditional verities, in rhythm-and-blues and soul music " while " more ephemeral pop fashions have come and gone ".

Critic Adam Roberts said of the novel: “ It is really quite hard to respond to this masterful book, except by engaging with its political content ; and yet we need to make the effort to see past the ideological to the formal and thematic if we are fully to appreciate the splendour of Heinlein's achievement here .”

Critic Joshua Klein said that " the emphasis this time sounds less on unfocused experimentation and more on melody ... a breezy and welcome return to form for the British band.

Critic Roger Ebert said of the film that it " somehow does succeed in treating the awesome and scary subject of sexual initiation with some of the dignity it deserves.

" Critic Howard Halle said of it that " Using distance and attendant shifts of scale within the very fabric of the city, Horizon creates a metaphor for urban life and all the contradictory associations – alienation, ambition, anonymity, fame – it entails.

Critic Dale Krueger said that the system is difficult to implement, and that companies often wind up overemphasizing control, as opposed to fostering creativity, to meet their goals.

Critic William Winter said, “ He was followed as a marvel.

Critic David Shipman said his personal notices for his performance in The Secretary Bird ( 1968 ) " must be among the best accorded any light comedian during this century ".

Critic Northrop Frye said that Menippean satire moves rapidly between styles and points of view.

Critic Joe Balthai wrote she was " the darling of the 1998 Sundance Film Festival " and Internet movie writer Harry Knowles said she was the " discovery of the fest ", but the film was not commercially released in the U. S. and went direct-to-video.

Critic James Dafforne, writing in 1871 in The Art Journal said of Leader's style:

" Critic Ian Lace said of her theme: " One has to suppose that the main character of this new game, Manon, inspired by the exploits of Hélène Déschamps is French.

Critic, Taran Adarsh said, " Raveena Tandon lends credibility to the role of a battered wife and walks away with the honours.

" Critic Robert Christgau said that Young " was born to lumber, and Pearl Jam wasn't.

Critic Harry Sumrall of the San Jose Mercury News said that Rabbitt was " like a hot corn dog: nothing fancy, nothing frilly.

Critic Roger Ebert said that " Pedro Almodóvar's films are an acquired taste, and with High Heels I am at last beginning to acquire it.

Critic Roger Ebert said of his performance that he " seems to have become the latter-day version of Christopher Walken – not all the time, but when you need him, he's your go-to guy for weirdness.

Critic Leonard Feather once said, " It is almost indisputable that Dr. Billy Taylor is the world's foremost spokesman for jazz.

Critic Tony Rayns describes The Spirit of the Beehive as " a haunting mood piece that dispenses with plot and works its spells through intricate patterns of sound and image " and of El Sur it has been said that " Erice creates his film as a canvas, conjuring painterly images of slow dissolves and shafts of light that match Caravaggio in their power to animate a scene of stillness, or freeze one of mad movement.

" said Autumn Bartsch of Everyone's a Critic.

In one of its highest scoring reviews, The Video Game Critic gave the game an A-and said it's " hard to put down.

Critic Josip Novakovich, who compared One of the Guys to A Confederacy of Dunces, has said, " If you read the book in public, you will laugh so much and go through so many facial expressions that you'll run the risk of having the police called to check you out.

Critic Robert Christgau said of the record: " Beefheart's famous five-octave range and covert totalitarian structures have taken on a playful undertone, repulsive and engrossing and slapstick funny.

Critic Roger Ebert was and remains today a champion of the film, including it on his all-time top ten best films list.

Critic Roger Ebert, in a review dated January 1, 1972, did not care for the film.

Critic Lynn Hirschberg declared Stranger than Paradise in a 2005 profile of the director for The New York Times to have " permanently upended the idea of independent film as an intrinsically inaccessible avant-garde form ".

Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, " The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933.

Critic Christopher Sharrett argues that since Alfred Hitchcock's Psycho ( 1960 ) and The Birds ( 1963 ), the American horror film has been defined by the questions it poses " about the fundamental validity of the American civilizing process ", concerns amplified during the 1970s by the " delegitimation of authority in the wake of Vietnam and Watergate ".

Critic Danél Griffin remarked, " Romero freely admits that his film was a direct rip-off of Matheson's novel ; I would be a little less harsh in my description and say that Romero merely expanded the author's ideas with deviations so completely original that of the Living Dead is expelled from being labeled a true ' rip-off '".

Critic Roger Ebert has included the film in his series of " Great Movies " reviews.

Critic Dennis Schwartz questioned the noir aspects of the film and discussed the cinematography in his review.

Critic Stephen Farber has described the film as " One of the most skillful and entertaining summaries of Marilyn's endlessly fascinating rise and fall.

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.

Critic Dennis Schwartz appreciated the acting ensemble in the film and wrote, " The film was too stagebound to be effective cinema, but it scores points in its unsentimental portrait of the loser life of the lonely and desperate merchant seamen.

Critic Lawrence van Gelder, writing for The New York Times, did not like the film.

Critic Henry Sheehan described the film as a retelling of Peter Pan from the perspective of a Lost Boy ( Elliott ): E. T.

Critic John Krewson lauded the work of Ida Lupino, and wrote, " As a screenwriter and director, Lupino had an eye for the emotional truth hidden within the taboo or mundane, making a series of B-styled pictures which featured sympathetic, honest portrayals of such controversial subjects as unmarried mothers, bigamy, and rape ... in The Hitch-Hiker, arguably Lupino's best film and the only true noir directed by a woman, two utterly average middle-class American men are held at gunpoint and slowly psychologically broken by a serial killer.

Critic James Agee noted that " the Hays office must have been raped in its sleep " to allow the film to be released.

Critic Roger Ebert wrote an article entitled, " Attacks on ' Roger & Me ' completely miss point of film " that defends Moore's manipulation of his film's timeline as an artistic and stylistic choice that has less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a viewpoint using the same methods that satirists have used.

Critic Billy Stevenson described the film as Moore's " most astonishing ", arguing that it represents an effort to conflate film-making and labor, and that " it's this fusion of film-making and work that allows Moore to fully convey the desecration of Flint without ever transforming it into a sublime or melancholy poverty-spectacle, thereby distancing himself from the retouristing of the town-as-simulacrum that occupies the last and most intriguing part of the film.

Critic Vincent Canby praised the film, calling the film " a devastating collage-film that examines official and unofficial United States attitudes toward the atomic age " and a film that " deserves national attention.

Critic James Steffen appreciated the direction of the film and the cinematography of Lee Garmes, writing " While Detective Story remains essentially a filmed play, Wyler manages to use the inherent constraints of such an approach as an artistic advantage.