Top 1200 Movie Critic Quotes & Sayings - Page 15

I had such a good time doing that movie [Sister Act 2]. My daughter's in that movie. It was a fun film to do. And it shocked a lot of people, because they loved it, and they take it with them.

I've been in movies where so much of the conversation was about, 'Well, after this movie, you're gonna be the biggest movie star.' I sort of have learned that you never really can predict any of that.

A good critic is the sorcerer who makes some hidden spring gush forth unexpectedly under our feet.

I don't think it's a mistake to put every great idea into the first movie, because I've always said there won't be a second movie if you go 'we'll hold back these ideas for another one.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

No publisher should ever express an opinion of the value of what he publishes. That is a matter entirely for the literary critic to decide.

You never know how stylish a movie is going to be and I think this movie has a great sense of style. The way that it is shot and our costumes and everything, it was just terrific.

As lovely as people are to me about my performance, I'm still a huge critic. I like very little of what I ever do.

I write and film history; I don't make it. One can be a good critic and a moral observer, but one remains professionally detached as a writer and a filmmaker.

Has anybody ever seen a dramatic critic in the daytime? Of course not. They come out after dark, up to no good.

A severe though not unfriendly critic of our institutions said that the cure for admiring the House of Lords was to go and look at it.

It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.

Jim Longenbach, poet, critic, and my husband, is always passing along life-changing books for me to read.

I never try to guess what anyone else will take from a movie. Every movie is such a different experience for each and every person. I don't like it when people try telling people what they should take from a movie. You should go see it with fresh eyes and see for themselves.

My work is very much like the restaurant critic's - a number of factors come together to make for a strong review.

I love the game of basketball. I guess it started with 'Space Jam.' Right after that movie, I went out there to my little Flight hoop and tried to do every dunk in the movie.

A critic is a person who rationalizes his likes and dislikes in such impressive language that the layman thinks he is reasoning instead of rationalizing.

Writer's block is your self-critic getting in the way, because creativity will just flow otherwise.

When I was younger I saw a movie called 'Butch Cassidy and the Sundance Kid' with Paul Newman and Robert Redford. Those two actors and that movie was my inspiration to want to be an actor.

I never expect anything. I am always amazed at why anybody goes to any movie or why anybody doesn't go to any movie. Any movie you make, you make it because you're hoping somebody wants to see it, but you never know.

When I started on 'The West Wing,' that was at a time when this was still a stigma, because movie stars didn't do TV. Now, every movie star is desperate to find their 'True Detective.'

There was another Judy Garland movie on TV, and it wasn't 'The Wizard of Oz,' and I was so confused. I was like, 'Wait a second, what is Dorothy doing in this movie?' And that's when I became fascinated. I didn't realize there were actors.

The great critic … must be a philosopher, for from philosophy he will learn serenity, impartiality, and the transitoriness of human things.

I never actually went anywhere when I was a journalist. I was a critic, and I just sort of got stuff in the mail and chatted about it.

When I am on E! for the 'Fashion Police,' I only care about being a critic. It loses me many friends.

One film critic back in the early days said "It's a pity Mr. Harryhausen didn't animated the actors, too."

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

But we all have experiences of having a truly good time after watching a movie that is not thought-provoking, don't we? I do too and I've been wishing to do that kind of movie. I think 'Collectors' is exactly that.

The first thing I ever thought of when I thought of Buffy , the movie, was the little...blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise ... genre-busting is very much at the heart of both the movie and the series.

Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.

'The Fugitive Kind,' 'Rope,' 'Who's Afraid of Virginia Woolf?' - I watched all these as a way of reminding myself that you can do a movie based on a play. You can do a movie that stays in one place for a long stretch.

Wes Craven's 'Shocker' is one of my favorite soundtracks. I don't know where that movie stands in the critical eye of cinema, but it was a really fun movie because of all the bands that were part of it.

What is a modern poet's fate? / To write his thoughts upon a slate; / The critic spits on what is done, / Gives it a wipe - and all is gone.

Actually, it was first a movie called Gale Force, which was a hurricane movie. That script never came together, and then the same deal was replaced with Cliffhanger.

I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.

When I did 'The Passion,' nobody believed in the movie. Everybody was telling me, 'You shouldn't do this movie... But I wanted to play Mary Magdalene. I thought that I could do something strong and deep with this character.

When you make a movie, you really have to be clever and smart, find something new for the worldwide audience because you aren't making a movie for just France or Germany; it's for everyone in the world.

I'm an equal-opportunity critic when it comes to left-wing celebrities sounding off on topics of which they know precious little.

Jackie Gleason said that comedy is the most exacting form of dramatic art, because it has an instant critic: laughter.

It's possible I am the only art critic that a lot of people read. And maybe Robert Hughes, if he's still writing.

My advice to any actor who's playing, quote, unquote, "extra" to think of it more like Stanislavski did. It's not a small part. You are the lead in the movie, in your own movie.

I pretty much lived movie to movie in my younger years because I loved spending money, and I didn't really have a concept of 'assets,' but as I got a little older, I bought art.

On the Internet, all those same guys that are complaining I made a change are completely changing the movie. I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’

Make small commitments and keep them. Be a light, not a judge. Be a model, not a critic. Be a part of the solution, not the problem.

A critic should be taught to criticise a work of art without making any reference to the personality of the author.

I think the hardest thing to overcome is judging yourself and being your own worst critic so to speak.

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

In literary criticism the critic has no choice but to make over the victim of his attention into something the size and shape of himself.

It must be every critic's dream when you're at something utterly intolerable to actually get up and intervene and make it stop.

I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

A critic often has to play the role of coroner, dissecting a work to find out why it died (or never lived).

All of those Shield guys, who came in protected, have done nothing but deliver, in my opinion, and I am a harsh critic of everyone.

In regards to The Haunting, people compared it to the old movie, which is unfair. We didn't have the rights to the movie. I couldn't duplicate a single thing because that would have been legal infringement.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

Avoid the ecstatic adjectives that occupy such disproportionate space in every critic's quiver - words like "enthralling" and "luminous."

I think I'm a critic of corporate power, whether locally or globally. And the term 'globalization' I've never found all that helpful.

It's not hard to feel afraid and insecure. I still fight an inner-critic voice, definitely. I hear it a lot.

The movies have been so rank the last couple of years that when I see people lining up to buy tickets I sometimes think that the movies aren't drawing an audience - they're inheriting an audience. People just want to go to a movie. They're stung repeatedly, yet their desire for a good movie - for any movie - is so strong that all over the country they keep lining up.

As a little kid watching horror movies, if you only got to see the monster for the last two minutes of the movie, I thought that movie pretty much sucked.

To me, a critic is some loser who has no idea... someone with an opinion. We all have opinions. No offense, but what makes them dictate what is cool and what is not.