Word: criticism
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Dates: during 1940-1949
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Most of Manhattan's critics wrote sentimentally affectionate reviews. One dissent came from New York Times Drama Critic Brooks Atkinson, who found the new four-a-day show a pale shadow of the classic two-a-day that died at the Palace in 1932. It was true that to get a new start, the proud old Palace had humbled itself with low-budget acts and no headliners. In a famed Variety phrase, the new show's hoofers, illusionists and comics were "good for the smalltime." But Variety itself, pointing to the Palace's low admission scale...
...almost three months the British had wrangled over whether the picture should be shown. A critic who saw it in Brussels urged that its exhibition be restricted to such professionals as doctors and magistrates. Published stills stimulated organized squeamishness; 140 London nurses petitioned the board of film censors to keep The Snake Pit off British screens because it showed "mental hospital nurses as harsh, unemotional and often cruel...
...figures in shifting shadows and dim spangles of light. She highlights some shapes with dabs of tempera, underlines some with India ink scratches, blurs others out. As a result, her subjects seem to be glimpsed through the rich, hazy surfaces of her pictures. Their evanescent quality led one critic to remark that Bishop was battling an insidious foe, "none other than invisibility...
...only a small local exhibition, in Loughborough, in Britain's Leicestershire, but the critics agreed that it had one really notable painting. Figure 8, Skegness, the picture they singled out, showed a whirl of bright-colored roller-coasters against a sea blobbed with boats. Wrote one critic: "A fine specimen of modernism by the Barrow-on-Soar artist, Thomas Warbis ... A study of it will be all the more interesting in view of the present controversy in the art world concerning a famous artist's [Sir Alfred Munnings] attack on modernism." Added the Loughborough Echo: "Mr. Warbis...
...Champion" loses the acid of Lardner's prose, although length is probably as much at fault as anything. It also indulges in a handful of coincidences and cliches that weaken an otherwise tight structure. Perhaps the most difficult problem facing a critic of this movie is its basic black-and-white. journalistic character: you can't get involved because the hero doesn't draw sympathy. Director Mark Robson has shaded the film impersonally and perfectly. It is a tribute to his direction that the one strong emotion the audience feels is the desire to haul Midge Kelly...