Murray was consistently praised for his performance. Critics were in agreement that his performance was essential to the film's success by making Phil's transformation believable. Gene Siskel wrote that any other actor could not have prevented the film from becoming too "saccharine". Turan said that Murray's natural gruffness and comedic barbs prevented over-sentimentality.
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After only a year of screenwriting, she had advanced to the head of Metro's scenario department. She was one of the first heads of any film department and the only female executive at Metro.Leider. 2003. p.237 During her early years, she had a close association with silent star Alla Nazimova. Their films together can be said to be marked by over- sentimentality; what little praise these films received was due to Nazimova's acting rather the conventional romantic stories.
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The fluctuating musical vocabulary in his writing enabled him to create any attitude, emotion, or impression at a moment's notice, but at times the musical effects seem out of place or without cause; a criticism also made of Giacomo Meyerbeer. Critics have also commented on de Lara's tendency towards over sentimentality. As one critic said, "at the moments when the music should attempt to rise to dramatic greatness, it degenerates into synthetic posturings." However, de Lara by all accounts had a wonderful musical ear and at his best he is a fine composer.
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A.T.u.) stated that they believed You and I to be "scandalous". The girls continued on to say that the film did not deal with the "love and roses" (over-sentimentality, "cheesiness") often found in romantic dramas, and instead, it focused on the real scandal and hardships that come along with relationships. Mitrofanov has mentioned that in selecting a director, they looked for one who knew the international market well, as they planned to release the film internationally. They turned to American production companies, and an English director, Roland Joffé, was chosen because of his Oscar-winning credentials.
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The Indonesian literature published between 1933 and 1942 is sometimes described as from the "Poedjangga Baroe generation", a reference to the publication's dominance. Translator and literary critic Burton Raffel described the magazine as a "midwife to a literary revolution", noting that the political revolution in the 1940s was likely influenced by the magazine. However, the aesthetic qualities of works published in Poedjangga Baroe have received mixed reception in the years after the magazine stopped publication. Indonesian poet and literary critic Muhammad Balfas argued in 1976 that most poetry published in Poedjangga Baroe suffered from over-sentimentality and flowery rhetoric, which he blamed on the writers being influenced by the Tachtigers.
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After the war, in Newfoundland, E. J. Pratt described the struggle to make a living from the sea in poems about maritime life and the history of Canada; while in central Canada, poets such as Ralph Gustafson and Raymond Knister were moving away from traditional verse forms. During the 1920s and 1930s, the Montreal Group (a circle of young poets which included A.J.M. Smith, A.M. Klein, and F. R. Scott) helped inspire the development of modernist poetry in Montreal through the McGill Fortnightly Review and the 1936 anthology New Provinces. The "new poetry" valued intellect over sentimentality, or as some have put it, logic over human emotions. Under the literary editorship of Earle Birney, the Canadian Forum helped promote similar developments in Toronto.
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" Christianity Todays Kristin Garrett said the band "once again proves the group's vocal versatility and solid sound" and felt the music on the album "oscillates between poetry and over-sentimentality; however, the album's overall themes resound with the truth of divine love, redemption and healing in the face of brokenness." Cross Rhythms's Ben Lloyd gave an illusion of the album being like a "journey through a number of different musical styles whilst retaining the Canadian band's use of worshipful lyrics." He continued his praise with the band has "a reputation for being one of the most thought provoking worship ministries serving the international Church and they retain their creative standards with this set." Jesus Freak Hideout's Jen Rose stated this album "marries elements of chamber pop, alternative rock, and even a touch of Americana folk for a sound more expansive than expected from a four- piece band.
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