Quotes About Reviews

When I wrote 'Southern Baptist Sissies,' that was the first time that I really ventured out into pure drama with themes where there was not one laugh sometimes. But I've always gravitated organically to blending tones and usually get good reviews about that. That's what life is about.

Consumers are empowered by Yelp and tools like it: before, when they had a bad experience, they didn't have much recourse. They could fume, but often nothing else other than tell their friends.

I'm very into my cars. I always ready the Top Gear magazines just to see what cars are out next and what sort of performance they give. It can range from the smallest cars to the biggest ones.

For the first time in my career, I'm working in a fine-arts arena, so I'm finally getting some intelligent reviews.

Children read books, not reviews," he wrote. "They don't give a hoot about the critics." And: "When a book is boring, they yawn openly, without any shame or fear of authority." Best of all—and to the relief of authors everywhere—children "don't expect their beloved writer to redeem humanity.

Why I Write for Children," he explained the appeal. "Children read books, not reviews," he wrote. "They don't give a hoot about the critics." And: "When a book is boring, they yawn openly, without any shame or fear of authority." Best of all—and to the relief of authors everywhere—children "don't expect their beloved writer to redeem humanity.

There are some things (like first love and one's first reviews) at which a woman in her middle years does not care to look too closely.

When I tried to access one of the other entertainment libraries, Vintage Movies, the system informed me that I wouldn't be granted access to a wider selection of entertainment options until I had received an above-average rating in three consecutive employee performance reviews. Then the system asked me if I wanted more information on the Indentured Employee Entertainment Reward Program. I didn't.

I directed 'Death in the Gunj' which released in 2017. It got very good reviews and a few awards but did not do well at the box-office. But I'm not bothered. I made the film that I wanted to make. It was not a film for everyone.

People keep saying, 'Oh, you're getting all these great reviews, that must make you really happy.' I guess it does, but mostly it's just a relief.

When we talk about reviews, what we are really talking about is just a market report - it's like reading about the new Lexus. You have to know what the guy writing the review cares about to understand his take. Does he like sports cars, or does he like Bentleys?

When you do comedy, you get impervious to good and bad reviews.

As an actress, I would love to know the marks given to me by the audience. In the beginning, I used to take reviews very seriously. Then, most reviews had different things to say.

I'm thinking of sending out censorship packets: information to share with those who want to defend my books when they come under fire. I'll tell why I wrote them and include reviews and letters of support from children and their parents.

From my close observation of writers... they fall into two groups: 1) those who bleed copiously and visibly at any bad review, and 2) those who bleed copiously and secretly at any bad review.

I'm not one of those writers who insist they don't read reviews and don't care much about them. I do read them, and I do care about them, and they're not always what you want them to be in an ideal world.

I don't read the reviews because it somewhere affects my work. If some critic doesn't like a movie, I can't keep his criticisms in mind the next time I am making a film. Even if someone writes a great review about my film, I don't want to be affected by it.

I made the decision to take on board the critical feedback. Reviews are something you can easily ignore as a performer or writer but I chose to not ignore them here and I think that I benefited. I think I'm stronger for it - and I have a tougher skin as a result.

But it has also enabled me to find my feet as a lecturer and a reader of my own plays to audiences who like to hear them; and that experience of immediate appreciation gives greater pleasure and more stimulus towards further activity than even the most laudatory of reviews.

the so-called democratization of reviews means the lowering of standards, and that subject knowledge, history and critical context are at risk of being lost in favour of people who only know how to write in attention-seeking soundbites.

You see, I read reviews of people like Paul Simon, and they don't talk about the fact that he's looking old or whether he is fashionable; they talk about the music, which is how it should be.

I have learned not to read reviews. Period. And I hate reviewers. All of them, or at least all but two or three. Life is much simpler ignoring reviews and the nasty people who write them. Critics should find meaningful work.

Critics, he reminds himself, are the unwitting mouthpieces of Resistance and as such can be truly cunning and pernicious. They can articulate in their reviews the same toxic venom that Resistance itself concocts inside our heads. That is their real evil. Not that we believe them, but that we believe the Resistance in our own minds, for which critics serve as unconscious spokespersons.

It's funny, because '1600 Penn' was the first time I really started to read the reviews, because I am an executive producer and I wanted to see what people were enjoying and not enjoying as a means to an end, right?