Bosley Crowther

Bosley Crowther

Agrees with the Tomatometer 72% of the time.

Bosley Crowther's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): New York Times

Movie Reviews Only

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Rating T-Meter Title | Year Review

Knute Rockne---All American (1940)

"As a memorial to a fine and inspiring molder of character in young men, this picture ranks high." ‐ New York Times
Posted Aug 23, 2016

Jungle Book (1942)

"The color is strikingly vivid and some of the individual scenes have natural charm. But the film, as a whole, is ostentatious." ‐ New York Times
Posted Apr 15, 2016
No Score Yet

Mary, Mary (1963)

"There must be some simple explanation of why Miss Kerr's play has run for so long, but I don't get it from this movie, which is two hours of conversational fuzz." ‐ New York Times
Posted Apr 6, 2016

Woman on the Run (1950)

"Woman on the Run will not win prizes but it does make crime enjoyable." ‐ New York Times
Posted Oct 28, 2015

Conspiracy of Hearts (1960)

"The pathos of little children caught in the agony of war is always a solid staple of sentiment on the screen. It has been well and touchingly presented in any number of films. And it is offered again with deep compassion in "Conspiracy of Hearts" ..." ‐ New York Times
Posted Oct 25, 2015

Cry, the Beloved Country (1952)

"It is difficult to do proper justice to the fine qualities of this film or to the courage and skill of Mr. Korda in transmitting such a difficult and sobering theme." ‐ New York Times
Posted Oct 23, 2015

Fail-Safe (1964)

"It packs a melodramatic wallop that will rattle a lot of chattering teeth." ‐ New York Times
Posted Oct 21, 2015

Dance, Girl, Dance (1940)

"Dance, Girl, Dance is just a cliché-ridden, garbled repetition of the story of the aches and pains in a dancer's rise to fame and fortune." ‐ New York Times
Posted Sep 28, 2015

The Pumpkin Eater (1964)

"It might make for valid drama if Mr. Pinter had done a half‐way job of establishing this insecure woman on firm psychological ground." ‐ New York Times
Posted Aug 1, 2015

Le Couteau dans la plaie (Five Miles to Midnight) (1962)

"Sophia Loren is given very little opportunity to display her acknowledged talent for acting in Anatol Litvak's new film." ‐ New York Times
Posted Jul 29, 2015

I'll See You In My Dreams (1951)

"If the names of Gus Kahn and Danny Thomas are vague or unfamiliar to you now, just keep your ear close to the sidewalk; you'll be hearing a lot of them soon." ‐ New York Times
Posted Mar 13, 2015

Accident (1967)

"The whole thing is such a teapot tempest, and it is so assiduously underplayed that it is neither strong drama nor stinging satire. It is just a sad little story of a wistful don." ‐ New York Times
Posted Mar 12, 2015

Pin-Up Girl (1944)

"Could it be that this is the musical which really scraped the bottom of the barrel?" ‐ New York Times
Posted Aug 29, 2014

Daisies (2012)

"A pretentiously kookie and laboriously overblown mod farce." ‐ New York Times
Posted Aug 26, 2014

Sodom and Gomorrah (1963)

"It is an obvious but feeble imitation of "The Ten Commandments" of Cecil B. de Mille, and it is much more concerned with salt-mining than it is with debauchery or lust." ‐ New York Times
Posted Mar 5, 2014
3.5/5 100%

En Lektion i Kärlek (A Lesson in Love) (1954)

"Even though it came early in the snowballing Bergman career, it reveals certain sparkling characteristics that have been striking in Mr. Bergman's themes and style." ‐ New York Times
Posted Jul 23, 2013
2/5 83%

An American Romance (1944)

"Mr. Vidor made a great big color picture with an abundance of vivid American scenes but with a story so banal and tedious that the whole film seems one massive platitude." ‐ New York Times
Posted Jul 1, 2013
2/5 33%

A Royal Scandal (1945)

"A Royal Scandal, for all Miss Bankhead's presence, is an oddly dull and generally witless show." ‐ New York Times
Posted May 8, 2013
1.5/5 No Score Yet

40 Pounds of Trouble (1963)

"The trouble with 40 Pounds of Trouble is that it is just too hackneyed and dull." ‐ New York Times
Posted May 6, 2013
4.5/5 80%

Breaking the Sound Barrier (The Sound Barrier) (1952)

"This must be said about this picture: it soars far above its clumsy tag and it comes pretty close to being the most exalting of contemporary films." ‐ New York Times
Posted May 1, 2013

The Blue Gardenia (1953)

"The weakness in this case clearly lies in a script by Charles Hoffman, which is hackneyed and tedious from beginning to end." ‐ New York Times
Posted Feb 25, 2013
2/5 63%

American Guerrilla in the Philippines (1950)

"There certainly is no accounting for the mechanistic nature of the script, for the lapses in continuity or for the lameness of the professionals in the cast." ‐ New York Times
Posted Feb 25, 2013
No Score Yet

Lonelyhearts (1958)

"Consistently fine performances by an exceptionally well-balanced cast give further cause for regarding this endeavor with appreciation and respect." ‐ New York Times
Posted May 8, 2012
4/5 100%

Portrait of Jason (1967)

"Portrait of Jason is a curious and fascinating example of cinema verité, all the ramifications of which cannot be immediately known." ‐ New York Times
Posted Mar 27, 2012
3/5 100%

The Cool World (1964)

"As we've come to expect of Miss Clarke's pictures, it is boldly and studiously styled as a literal documentation of a particular social scene, and its attack is more that of the reporter than of the interested teller of a tale." ‐ New York Times
Posted Mar 27, 2012
2/5 93%

The Connection (1961)

"There is little about it to warrant the clamorous interest of the average moviegoer or to distinguish it as a significant piece of cinematic art." ‐ New York Times
Posted Mar 27, 2012
2.5/5 83%

All This, and Heaven Too (1940)

"Unfortunately, there are too many words and not enough music." ‐ New York Times
Posted Feb 3, 2012
4.5/5 No Score Yet


"Elia Kazan's Greek uncle, who was the first of his family to emigrate to the United States, is paid a splendid tribute by his nephew in the new film, America, America." ‐ New York Times
Posted Feb 3, 2012
4/5 100%

Hold Back the Dawn (1941)

"You will enjoy it as a straight-away romance, crowded with most engaging characters and smoking with Mr. Boyer's charm." ‐ New York Times
Posted Feb 3, 2012
4.5/5 100%

One Foot in Heaven (1941)

"Out of Hartzell Spence's deeply affectionate biography of his ministerial father, William Spence, the Warners have derived a cheerful and warmly compassionate film, an excellent character study and an adult entertainment on the screen." ‐ New York Times
Posted Feb 3, 2012
2.5/5 75%

Kitty Foyle (1940)

"he sharpness and contemporary significance of Mr. Morley's commentary are missing. His Kitty was of real flesh and blood; this one is persuasive but fictitious." ‐ New York Times
Posted Jan 31, 2012
2.5/5 75%

Sons and Lovers (1960)

"Somehow, this plainly euphemistic attitude toward Lawrence's fierce and fine account runs through the whole handsome picture and hobbles its real potential punch." ‐ New York Times
Posted Jan 31, 2012
4.5/5 78%

The Moment of Truth (1965)

"Never have I got such a message of the cruelty of the sport as is conveyed in this film, which owes much of its excitement to superb color photography." ‐ New York Times
Posted Jan 23, 2012
3/5 54%

Secret Beyond the Door (1948)

"Mr. Lang is still a director who knows how to turn the obvious, such as locked doors and silent chambers and roving spotlights, into strangely tingling stuff." ‐ New York Times
Posted Apr 4, 2011
2.5/5 88%

Quo Vadis? (1951)

"It was made, we suspect, for those who like grandeur and noise -- and no punctuation. It will probably be a vast success." ‐ New York Times
Posted Mar 23, 2011
2/5 No Score Yet

Behind the Great Wall (1959)

"Check off the novel experience as precisely what we've labeled it -- a stunt. The artistic benefit of it is here demonstrated to be nil." ‐ New York Times
Posted Oct 26, 2010
2/5 No Score Yet

Scent of Mystery (1960)

"As theatrical exhibitionism, it is gaudy, sprawling and full of sound. But as an attempt at a considerable motion picture it has to be classified as bunk." ‐ New York Times
Posted Oct 26, 2010
3/5 100%

Come Back, Africa (1959)

"What it lacks in dramatic structure, it makes up in pictorial urgency." ‐ New York Times
Posted Jun 9, 2009
2.5/5 85%

The Taming of the Shrew (1967)

"As for Mr. Zeffirelli's settings and the elaborate Renaissance costumes, they look very rich and mellow in the misty pastel colors that are used. But they, too, like Nino Rota's music, tend to monotony." ‐ New York Times
Posted Jul 1, 2008
2/5 60%

Until They Sail (1957)

"Unfortunately there is a good deal of introspective soul-searching before this narrative arrives at its sad and happy endings." ‐ New York Times
Posted Jun 17, 2008
2/5 0%

What a Way to Go! (1964)

"J. Lee Thompson's direction has failed to coalesce a good, firm farce. It lets the whole thing flap wildly -- and that's no way to make a film." ‐ New York Times
Posted Jun 17, 2008
3/5 No Score Yet

Francis (1950)

"It holds a few good laughs -- especially for mules." ‐ New York Times
Posted May 12, 2008

The Queen of Spades (1949)

"Wild gypsy dancing, shadow lighting and an excellent musical score are well used for mood creation in this weirdly fascinating film." ‐ New York Times
Posted May 5, 2008
5/5 97%

Cinderella (1950)

"Considering the army of craftsmen who work on a Disney cartoon film, it is hard to give individual credits, for the memorable qualities." ‐ New York Times
Posted May 5, 2008
4/5 80%

Saludos Amigos (1943)

"In color, with topical music, it is a gay forty-minute potpourri." ‐ New York Times
Posted May 5, 2008
3/5 No Score Yet

Something of Value (Africa Ablaze) (1957)

"A pretty, good estimation of the social problems involved." ‐ New York Times
Posted Apr 8, 2008
2.5/5 83%

Last Hunt (1956)

"It does seem to take Mr. Granger an awfully long time to get around to freezing out Mr. Taylor. That's the way sermons sometimes go." ‐ New York Times
Posted Apr 8, 2008
2.5/5 No Score Yet

Manon (1949)

"As a demonstration of human nature, we're afraid that this film Henri-Georges Clouzot has helped adapt and has directed fails to convey why a man would throw himself at the feet of an obviously no-good dame." ‐ New York Times
Posted Mar 20, 2008
2/5 83%

Hero of Montmartre (1958)

"The one bright spot is Miss Palmer, who acts with the breezy air of one who looks upon drunken artists as amusements. Maybe that's the way to look at this film." ‐ New York Times
Posted Jan 22, 2008
1.5/5 No Score Yet

Tension (1949)

"It rambles from one thing to another in a most unsuspenseful way and ends with a shattering revelation which you can see coming a half-hour in advance." ‐ New York Times
Posted Dec 10, 2007
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