Top 1200 Film Critics Quotes & Sayings

I met Joan Allen at an L.A. Film Critics Awards' dinner, and I said, 'I want to write a movie for you.'

I don't really give in to the critics because critics are always going to criticize, and what have they done? A person who has never done nothing can't really care nothing about doing something. So as far as the critics, I don't care what they think. I don't have time to give to critics.

Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.

I'm not trying to brainwash my critics. If they're critics, they're critics, and that's their job to be critical, but I certainly enjoy the involvement I have with my fans. I enjoy the time I get to spend with them, and I don't waste time with someone stubborn who is not going to come around.

There are television critics, movie critics, and theater critics too who I like and who I follow and I get genuinely bummed when they don't like something that I've written because I usually agree with them.

If film critics could destroy a movie, Michael Bay and Adam Sandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town.

Some day I'll make a film that critics will like. When I have money to waste.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

If there is ever one thing you learn as a professional footballer, you have a lot of critics and you have the chance to silence your critics.

I don't think you ever silence critics. They'll be critics in the morning. That's part of the deal.

I think the biggest challenge was being aware of a certain audience that was going to see this film [lone survivor]. There's a big difference from a typical movie, journalists and critics and film goers that go see it find that, that's the general experience you have as a filmmaker. So that just kind of proves my point that there's a really different audience.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

What's better than being able to entertain people? When you receive love from the public, it doesn't matter what the film circuit or critics say.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

The liberal state is neutral between capitalism and its critics until the critics look like they are winning.

My 'Devdas' was a tribute to all the mainstream masters, from Mehboob Khan, K. Asif, and V. Shantaram to Raj Kapoor. I am not saying critics shouldn't have criticised my film. But they should have judged the film within the genre and format that I had chosen.

Still, as much as I wish Ballistic Kiss could be a better film, the recognition it gained from critics and at festivals speaks for itself.

Does he have a double standard for black critics as opposed to white critics?

There was a cultural war going on, the '60s was going on. All the film critics were square.

Critics kind never mind! Critics flatter no matter! Critics blame all the same! Do your best damn the rest!

When you're doing a film, it's your film and it's, you know, your blood and - is in it along with everybody else's, and it's the greatest picture ever made when you're shooting it. It's only after the critics and then the public say you were wrong that you realize that you were wrong.

I'm happy that people have loved my film and my work. I have always let my work do the talking, and I guess I have proved to my critics that I'm not over.

Hindi movies will never be liked by the critics, trust me. The main stream Hollywood film will not be liked by the critics.

People think I'm against critics because they are negative to my work. That's not what bothers me. What bothers me is they didn't see the work. I have seen critics print stuff about stuff I cut out of the film before we ran it. So don't tell me about critics.

I built my [early] career on negative reviews. There was a cultural war going on, the '60s was going on. All the film critics were square. They hated my movies. You could never have that happen today. Critics are way too hip.

I don't have any bone to pick with critics. In fact, if I wasn't a filmmaker I would probably be a film critic. Most of my bone is I would be a better film critic than most of the film critics I read.

If my film doesn't make money, it means people didn't go watch it. So it doesn't matter then that the critics loved it.

When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of critics' reviews and box office figures.

I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.

In the 1970s, a lot of critics didn't understand video. I got a lot of bad reviews. But film-makers didn't understand what we were doing, either. There were actual fistfights between film-makers and video-makers. I was witness to one.

I have cultivated a little crew of people whose opinions I understand. It's like the way you'd follow certain film critics because you know what their criteria are, and you may not agree with them, but you can glean from their opinion how you will feel about a film.

I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.

I am humbled at the fact that I always get great support and reviews from my critics, but it's the film that requires to be good enough for it to work.

Critics in particular treat CGI as a virus that's infecting film.

A film cannot make it into the culture without the support of critics.

If you write for the critics, only the critics will read you.

The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.

Maybe one day I could make a film which works at the box-office and the critics also like it.

Critics are critics: their job is to find things wrong with people.

Even the European critics... They said Hostel is the smartest film they'd seen on capitalism and how it's gone too far.

I had become mean and stupid and deliberately hurtful because that is what is expected of restaurant critics. Of critics in general.

There are a million logical reasons to not make a film, and I think if you get focused on all the critics or money or any of that other stuff, it never leads anywhere good.

The closeness [of Rex Tillerson] to [Vladimir] Putin will be one of the unifying issues between the Republican critics and Democratic critics.

I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.

I'm telling you, every film I've ever made has been hated by the U.K. critics.

I honestly think I could sit down and write a show tonight that the critics would love, and I know it would be canceled within four weeks. I know what the critics love. We write and produce for people, not for critics.

There's so many intangible forces that come into play when making a film, I have no idea what the public will ultimately think of something that I do, let alone critics.

In city after city, newspaper after newspaper has diminished its staff of critics, sometimes to zero. Film and T.V. critics have been dropped and not replaced. Maybe they're deemed unnecessary because nobody cares if anything's good or not.

I wish all critics, no matter their color, were more sophisticated when it comes to the moral questions a film like 'St. Anna' is trying to raise.

At the core, I am an actress. And I think, in a way, that's a good thing in that I am, I think, empathetic and sympathetic to the film. I would never pretend to have the discerning and acute critical eye that a lot of the great critics in our business do have. I don't look at it as being a critic or placing a judgment on a film, and I do think, how do you decide which film is best anyway? It's always a little bit of a mixed bag. But, I think it is just a collective group of people coming together to honor the work of an artist - that's how I think of it.

My father was an engineer, .. But I found out that the film critics for the Stanford Daily got free passes for all the films. So I became first an assistant critic and then the main film critic. Those free passes changed my life.

I mean, the old film critics just excoriated me.

I think as you get older, you realize there's always going to be critics. Critics are going to win every time because they can change their critique based on the stats and their own personal feelings. It's less about proving people wrong, the critics wrong, and it's more about challenging myself to keep this level up.

When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

Have you ever noticed how most critics disagree with the public? That should tell you a lot about critics.

When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.

Writers are rarely their own best critics, nor are critics.