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Bosley Crowther
Bosley Crowther's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
New York Times
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Night Games (1966) |
[Mai Zetterling] has skill and an eye for color in creating visual images. But she takes us through a chamber of horrors without shedding any real light in Night Games. - New York Times
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| Posted Sep 20, 2023
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Around the World Under the Sea (1966) |
A deplorable lack of imagination is apparent in Around the World Under the Sea. - New York Times
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| Posted Sep 20, 2023
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Weddings and Babies (1958) |
The girl is played by Viveca Lindfors, and everything she does -- every movement, every gesture, every reaction, every lift and fall of her voice -- is so absolutely right and convincing that the style drapes most fitly around her. - New York Times
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| Posted Jul 25, 2023
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Back to Bataan (1945) |
For people who like that sort of picture, it will probably be gratifying... But, from a more realistic viewpoint, it seems a cheap and meretricious conception of the ordeal of the Philippine patriots and of the Americans who stayed behind to aid them. - New York Times
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| Posted Feb 01, 2023
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Bedazzled (1967) |
Maybe the brand of British banter and buffoonery that Peter Cook and Dudley Moore bombard us with in Stanley Donen's Bedazzled would be very funny if it came in small bursts at not too frequent intervals in an expansive musical comedy or revue. - New York Times
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| Posted Sep 15, 2022
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The Perfect Furlough (1959) |
There is nothing about The Perfect Furlough to warrant superlatives, but there's plenty to keep you giggling. - New York Times
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| Posted Sep 13, 2022
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The Breaking Point (1950) |
It may not be spiritually ennobling, but it is Hemingway. And it is pretty true to life. - New York Times
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| Posted Aug 31, 2022
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A Raisin in the Sun (1961) |
It is a wonderful, warm comprehension of a people's humor, strength and dignity under a multitude of sad and silly burdens. It should generate love, not hate. - New York Times
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| Posted Aug 23, 2022
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Shadows of Forgotten Ancestors (1964) |
Its principal asset as motion picture is the brilliant reproduction of ancient customs and traditional sentiments. It also has a spectacular and abundant musical score that carries much more emotion than the actors convey. - New York Times
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| Posted Feb 28, 2022
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Cleo From 5 to 7 (1961) |
Generally, Mlle. Varda is so absorbed with her camera stunts, as she is in that scene in the hat shop or when she is screening that comedy short, that the essential concentration on the heroine is neglected and the interest lost. - New York Times
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| Posted Feb 17, 2022
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Nothing But a Man (1964) |
Ivan Dixon is excellent... and Abbey Lincoln plays the wife with such warm, gentle, sentient responses that she keenly touches the heart. - New York Times
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| Posted Jan 31, 2022
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The Thing (1951) |
Taking a fantastic notion (or is it, really?), Mr. Hawks has developed a movie that is generous with thrills and chills and comes up with just enough light, bantering dialogue so that the film does not appear to take itself too seriously. - New York Times
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| Posted Sep 21, 2021
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The Littlest Outlaw (1955) |
A thoroughly juvenile film in its story, its comprehension and particularly in the way it is played. It offers a children's fiction in elementary and often hackneyed terms. - New York Times
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| Posted Aug 23, 2021
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A Man Called Adam (1966) |
The picture fails, although it tries hard and, in some ways, admirably. - New York Times
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| Posted Aug 10, 2021
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Intruder in the Dust (1949) |
The stanch and magnificent integrity that Mr. Hernandez displays in his carriage, his manner and expression, with never a flinch in his great self-command, is the bulwark of all the deep compassion and ironic comment in this film. - New York Times
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| Posted Jan 28, 2021
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Anna Lucasta (1958) |
[An] incredibly artless film. - New York Times
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| Posted Jan 14, 2021
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A View From the Bridge (1961) |
The one great obstruction to the drama -- and a fatal obstruction it becomes -- is the slowly evolving demonstration that the principal character is a boor. - New York Times
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| Posted Nov 17, 2020
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Isn't It Romantic? (1948) |
A formless and rambling musical, which looks as though it were made with at least a half dozen previous musical successes in mind. - New York Times
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| Posted Oct 29, 2020
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Gilda (1946) |
Despite close and earnest attention to this nigh-onto-two-hour film, this reviewer was utterly baffled by what happened on the screen. To our average register of reasoning, it simply did not make sense. - New York Times
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| Posted Aug 26, 2020
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The Horn Blows at Midnight (1945) |
The script is neither satire nor good, fresh, fanciful corn. It is a batch of old-fashioned nonsense put together without distinct charm. - New York Times
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| Posted Aug 06, 2020
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St. Louis Blues (1958) |
It is really a rather silly, tedious notion of emotional conflict that Robert Smith and Ted Sherdeman have used for the core of their screenplay, and it is presented with neither style nor subtlety. - New York Times
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| Posted Jul 31, 2020
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Streets of Laredo (1949) |
The story is a grossly hackneyed thing and the dialogue is of an order which no self-respecting horse would deign to speak. - New York Times
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| Posted Jun 10, 2020
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Lady Godiva (1955) |
As for what goes before the saunter, it is even more ponderous and dull. - New York Times
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| Posted May 11, 2020
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The Chalk Garden (1964) |
Ronald Neame, who has directed the picture, and John Michael Hayes, who has written the script, present us with a cozy, compact drama that follows a comfortable, sentimental line. - New York Times
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| Posted May 07, 2020
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Saboteur (1942) |
To put it mildly, Mr. Hitchcock and his writers have really let themselves go. Melodramatic action is their forte, but they scoff at speed limits this trip. - New York Times
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| Posted May 05, 2020
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The Family Way (1967) |
The possibilities of serious complications are studiously forgone in favor of folksiness and pathos, which are pleasingly presented but awfully thin. - New York Times
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| Posted Apr 30, 2020
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I Want a Divorce (1940) |
Miss Blondell and Mr. Powell have been persuaded to hit the old high pace when playing their lighter scenes. Some of these are amusing, but they simply don't sandwich into the whole. And, when the story goes heavy -- well, confidentially, it sinks. - New York Times
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| Posted Apr 27, 2020
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To Each His Own (1946) |
Although [writers] Charles Brackett and Jacques Thery are not telling anything new in To Each His Own, which follows the broad pattern of countless tales about the grief of unwed mothers, they have worked in a few refreshing twists. - New York Times
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| Posted Apr 21, 2020
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Lady on a Train (1945) |
It's an empty and careless little fable, intended to be a mystery farce, about the wholly incredible mix-up of a debutante in a murder plot. - New York Times
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| Posted Apr 21, 2020
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Macario (1960) |
The charm of it is in the felicity with which it flows from a solemn, sad account of misery and futility into a bubbling comedy, spiced with morbid witticisms, and then into a drollish horror tale. - New York Times
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| Posted Apr 20, 2020
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Night Passage (1957) |
A lot of the well-worked ingredients of six-gun drama are aptly packed in, along with some beautiful Colorado scenery, in wide-screen and color -- plus James Stewart. - New York Times
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| Posted Apr 17, 2020
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Rear Window (1954) |
The boorish but fascinating pastime of peeking into other people's homes -- a thing that New York apartment dwellers have a slight disposition to do -- is used by Director Alfred Hitchcock to impel a tense and exciting exercise. - New York Times
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| Posted Apr 16, 2020
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Goodbye Charlie (1964) |
Under Vincente Minnelli's direction, the film has a certain style and pace. But it is much more vulgar than stylish, much more sluggish and dull than fast. - New York Times
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| Posted Mar 16, 2020
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Bedtime Story (1941) |
Mark this one down as good, crisp fun. - New York Times
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| Posted Mar 16, 2020
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Night People (1954) |
It may be the sheerest piece of fiction, and a reckless piece at that, but it is fun. - New York Times
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| Posted Mar 12, 2020
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The Unfinished Dance (1947) |
The Unfinished Dance is a big splash of show-off theatre, in which the story is as slickly decorative as are the elaborately staged ballets. - New York Times
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| Posted Mar 12, 2020
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Flower Drum Song (1961) |
Since colorfulness and pleasant music were the strong points in Flower Drum Song... when it bloomed on the Broadway stage, it is notable that the film version stresses those qualities and does well enough by others. - New York Times
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| Posted Mar 07, 2020
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The Victors (1963) |
Mr. Foreman's direction is generally artless, highly romanticized, and there really is not one good performance -- one strong characterization -- in the whole film. Eli Wallach's sergeant is the best of a lot of stereotypes. - New York Times
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| Posted Mar 03, 2020
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Life at the Top (1965) |
This picture could be a documentary of all the ugly, tawdry, complicating things that might happen to restless married people when they found themselves helplessly caught in the stuffy social surroundings of the industrial Establishment. - New York Times
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| Posted Mar 02, 2020
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Darling (1965) |
[Schlesinger] has made a film that will set tongues to wagging and moralists to wringing their hands. - New York Times
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| Posted Feb 27, 2020
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The Four Days of Naples (1962) |
It was certainly designed by [Loy] to make the older people of Italy feel again the fire of courage they felt in those dark moments, and to make the younger people know what it was.There isn't the slightest question that it accomplishes this intent. - New York Times
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| Posted Feb 11, 2020
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Summer Holiday (1948) |
Where Mr. O'Neill's reminiscence of adolescent youth back in the days of peg-top trousers, of the Rubaiyat craze and the five-cent schooner of beer was a subtle and sensitive understanding, this picture is largely a big lark. - New York Times
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| Posted Dec 14, 2019
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Whispering Smith (1948) |
As a rootin', tootin' Western, this formula-made Whispering Smith is good make-believe entertainment for those who will take it as such. - New York Times
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| Posted Dec 09, 2019
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Hamlet (1964) |
It is a spectacle, in the main-a large, mobile, realistic rendering of the melodramatic action of the play-that depends entirely for its impact upon its striking scenery, the physical sweep of its performance and the grand effects... - New York Times
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| Posted Nov 20, 2019
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You're in the Navy Now (1951) |
It seems only fair to warn you that this farce about Navy men is the most explosively funny service picture that has come along since the nickelodeon versions of the sinking of the battleship Maine. - New York Times
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| Posted Aug 05, 2019
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Impact (1949) |
The melodramatics in this picture are tediously uninspired. Since definitions are in order, let's label Impact a dull thud. - New York Times
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| Posted Jul 29, 2019
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Deadline U.S.A. (1952) |
Really good newspaper pictures are few and far between. This one, while melodramatic, does all right by the trade. - New York Times
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| Posted Jul 24, 2019
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The Day of the Triffids (1963) |
As an old-fashioned plot picture unhampered by artistic pretensions, The Day of the Triffids is above par for the course. - New York Times
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| Posted Jun 27, 2019
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Les Vampires (1915) |
A few hours of it, however, was sufficient to convince this viewer that this French opposite number to The Perils of Pauline is the ultimate in cinema camp. It is a lurid, slow-moving, grotesque stretch-out of fantastic adventures. - New York Times
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| Posted Apr 18, 2019
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Nobody Waved Goodbye (1964) |
A good job of pictorial pamphleteering on the topic of parent-child relations is done by Nobody Waved Good-bye, but it comes to no forceful conclusion, either emotional or intellectual. - New York Times
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| Posted Jan 22, 2019
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