Here, we’ve compiled a list of the best Reviews Quotes from famous persons: Eleanor Catton, Lou Ferrigno, Diane Ladd, Naseeruddin Shah, Ian Mcewan. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Reviews Quotes before, but that’s because they truly are great.
I always had a trunk full of good reviews. I’d get magnificent reviews, and I’d be standing out on the unemployment line!
I often don’t read reviews.
I don’t read reviews.
I like reading reviews. If they’re clearly hating on you, I try not to read that deeply. But if they really are trying to understand, it’s interesting.
I started my own magazine with drawings, commentary, news, film reviews and drawings.
Personally, I read reviews because I’m interested by them, but they don’t have utility for me.
The market for religious apps is fiercely competitive; searching for ‘bible‘ in the Apple App Store returns 5,185 results. But among all the choices, YouVersion‘s Bible, funded by LifeChurch.tv of Edmond, Oklahoma, seems to be the chosen one, ranking at the top of the list and boasting more than 641,000 reviews.
I can’t see how I’d learn to be a better actor from reading reviews.
I don’t usually read reviews.
Tales of cheating on school and college tests are rife. There have been instances where teachers have given students test answers in order to make themselves look good on their performance reviews. Mentors who should be teaching the opposite are sending a message that lying and cheating are acceptable.
You want reviews to come the week the movie’s opening and not a month before when they do you absolutely no good.
I don’t read reviews, because if you believe the good ones, you have to believe the bad.
I don’t read young adult or children’s books, now that my grandchildren are beyond the age of my reading to them. I read reviews, and so I’m aware of what’s out there. But I tend not to read the books.
I’m not reading reviews and critics. I don’t care. I guess I’m still a little on my own planet.
There was supposedly no point showing ‘Nightbreed’ to critics because the people who see these movies don’t read reviews, in brackets, even if they can read at all! Immediately it was disqualified from serious criticism. Therefore, it had to be sold to the lowest common denominator.
Reading ‘The New Yorker‘ – I start on the last page and go backwards, reading all the cartoons. Then I read ‘Shouts and Murmurs.’ Then I read the reviews. Then I read the articles that immediately appeal to me.
I get the ‘Guardian‘ delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it’s very accessible. At the weekend, I get the ‘Observer‘ because I love the food supplement, Observer Food Monthly, and the style section. And I can’t resist the News of the World.
In my experience, adults rarely bother reading the reviews of children’s books and almost never read the books themselves – particularly if they don’t have children.
Prior to ‘The Goldbergs,’ I rarely got good reviews on anything I’ve done.
What I want veterans to know is that VA is here to care for them. VA is a good system – health care wise, safety wise – highly comparable to any other system out there. Our oversight reviews tell us that. I’m very comfortable in the quality of our system.
To my undying shame, I do read reviews. I don’t read them all, but I like to get some kind of idea how things are going.
I give tremendous weight to my positive reviews and none whatsoever to my negative ones.
At the end of the day, I would love for the artists that I give positive reviews to to continue coming out with music. That’s ultimately what I want as a fan.
I don’t expect anything from reviews. Sometimes I am bemused by them.
I’ve been surprised at how much an unknown like myself can accomplish just by reaching out to people and pleading my case. Quotes for the book cover, reviews and interviews, readings and radio appearances – all this by simply moving ahead and making contact with folks I thought might enjoy the writing.
When you hire that first person, then you’re a boss. You’ve got performance reviews. You’ve got complaints about not making enough money. You’ve got people who are just going to sell your story to the tabloids.
Performers put their heart and soul into their art, and can be subject to highly personal attacks and criticism. The tone and language of reviews, or commentary on social media, can be bruising and severe. Everyone is a critic. All of this adds to the stress and anxiety suffered by people in the performing arts.
I never read reviews of something I want to see.
Sometimes I have given my husband a manuscript to read that has turned out to have fantastic rave reviews and he’ll tell me it is no good. Well, if I didn’t know him as well as I know him I would be terribly depressed.
I’ve had some bad reviews, but not as bad as the things I could imagine for myself.
I never really think about what people are going to think of the movie afterwards. Or what people are going to call me. I just want to make a great project, and my focus is really all on that. And then I really don’t read reviews. Like, you know, go on comment boards or anything.
I feel reviewers are tougher on comedies in general. They don’t take them seriously, and the ones that get great reviews are not necessarily the ones that I like.
The work is done; it is what it is. You do the work, and you hope people like it, and if they don’t, don’t read it. I don’t read reviews. I don’t have social media, so I’ll stay away from that; it’s easy.
I don’t read reviews or interviews or anything, just because I’m afraid; If I believed the good, then I’d believe the bad, and there will be bad.
I was seeing a lot of really good things about Get Shorty when it came out, and my wife pointed out that if you validate the good reviews, you also have to validate the bad reviews.
The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: ‘Tobacco Road’, ‘Abie’s Irish Rose’ and our old friend ‘Spider-Man’, which got the worst reviews in theatre history and is still apparently going strong.
Audiences don’t come to theatres going by reviews. Even if a film is rated low, the collections won’t get affected.
We compare everything with what is being done in the West. Even the film reviews are written like that. It is sad because we are trying to belittle ourselves.
I’m not used to getting good reviews.
At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.
I’ve learned not to look at reviews. Early on, I did. I was always curious.
I’m not one to get bad reviews.
I don’t go online, I don’t read reviews, I try not to look at anything on the Internet.
I don’t read reviews.
Of course, Hollywood is still making some excellent pictures which reflect the great artistry that made Hollywood famous throughout the world, but these films are exceptions, judging from box office returns and press reviews.
I wish I didn’t have to validate myself by reading reviews.
I’ve adjusted to this, that my books are not going to get unanimously good reviews.
I don’t read reviews, good or bad, just for my own sanity.
Everybody says before reviews come out, ‘Oh, reviews don’t matter,’ just in case they’re bad; everyone want to brace themselves.
When The Stone Roses first came out, the early reviews called me ‘simian.’ I had to look that up at the time.
The news today that Bush has vowed to veto any legislation that reviews the security implications of the Dubai Port World’s potential management of our ports is ludicrous and the entire Democratic Party is calling him to task for it.
I don’t read my reviews, but I have a bunch of them and I will when I’m 80.
I’ve had movies bomb with terrible reviews, I’ve had movies make a lot of money with terrible reviews, I’ve had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.
In my career as a writer, I preferred to avoid current events: I wrote young adult novels and book reviews and lifestyle journalism about health and parenting and other such evergreens.
I work really hard at these books, and when colleagues write nasty reviews of them, I take it very personally.
I was in my last year in high school when I began to think of becoming a dancer. I had never seen a Broadway show; we never even read the theatrical reviews.
I already don’t read reviews, I don’t seek them out. Sometimes my family will tell me if there’s a nice one.
Even reading my first bad review was an awesome experience. It was cool because you make something and not everybody’s going to like it. I felt like that kind of grew me up a little bit into a professional. I was a student filmmaker, and no one writes reviews about student films.
Writing is exhilarating, but reading reviews is not. I’ve been really devastated by ‘good’ reviews because they misunderstand the project of the book. It can be strangely galvanising to get a ‘bad’ one.
Generally speaking, I think one has to take reviews with a grain of salt, unless you know who the person is and what their qualifications are.
I try my hardest not to read reviews.
When it comes to life and love, why do we believe our worst reviews?
I really do hope that the people will like 14:59. The critics seem to like it. We got a lot of good reviews.
My policy is to not read any reviews.
Most books reviews aren’t very well-written. They tend to be more about the reviewer than the book.
For too long, the system has been biased in favor of oil and gas developers: sweetheart lease deals, generous subsidies and a regulatory process so slanted in favor of Big Oil that often permit reviews are simply waived.
When I started acting, I used to read all the reviews.
I used to be one of the lead actors of a theatre group called Hetu when I was in medical school. Prithvi Theatre was our stomping ground. I’d got many positive reviews.
When you do comedy, you get impervious to good and bad reviews.
I don’t read reviews because if they’re bad I’m devastated and if they’re good I get a big head.
I’m used to bad reviews.
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.
Young bands are so angry. There are young bands that are so incredibly successful, getting incredible reviews, and they are totally angry.
There will be four ancillary shows on the MyMusic channel, and we’ll be updating an entire blog with up-to-the-minute music news. You can visit it like BuzzFeed or Pitchfork and get album reviews. It’s all as part of the sitcom experience, written by the characters.
I worked at ‘Mademoiselle,’ and then it shut, and I worked at ‘GQ’ for three years, during which I was freelancing. I wrote for ‘Vibe.’ I did music reviews. I wrote for ‘Time Out.’ I was desperate to get into ‘Entertainment Weekly’ or ‘New York Magazine.’ Like, desperate.
I think especially in academia, we are coached to go the route of paying to submit our writing to small publications, like the presses and the quarterly reviews and all of these that are considered ‘prestigious.’ As a writer in a college program, that’s the route that you’re taught to go.
I found out about reviews early on. They’re mostly written by sad men on bad afternoons. That’s probably why I’m less angry than some writers, who are so narcissistic they consider every line of every review, even a thoughtful one, as major treason.
I’m probably my own harshest critic. If I get a hundred good reviews and one really bad one, it’s that one out of a hundred that I remember. I think we actors are hard on ourselves, and I don’t know why that is.
The whole purpose of annual reviews is to keep you abreast of whether or not you are fulfilling the requirements of tenure.
I find that there are few reviews that extol women as wonderful artists.
It’s weird being an author because it’s different than writing songs. You put so much more of yourself out there to be judged because it’s a memoir. So when the reviews come in, they all feel really personal. Some people are just going to hate you no matter what. Personally, I never believe good reviews.
I don’t have a whole bunch of literary connections. I don’t write reviews or attend writer’s conferences. I’m kind of shy and don’t want to go to a party. I just want to stay home and read my murder mysteries and try to write and cook dinner.
From the late ’70s to the early ’90s, I wrote anything anybody would pay me for. This ranged from articles on how to clean a longhorn cow‘s skull for living-room decoration to manuals on elementary math instruction on the Apple II… to a slew of software reviews and application articles done for the computer press.
I’m the world’s worst at reading reviews and then pretending I’ve read the book.
I don’t read reviews until after I’m done with a production, but when I do finally get to them, I’m always sort of floored by what the bad ones say.
I grew up in a working-class Catholic family in south Louisiana. I went to a state university. I taught literature, wrote a novel that was the novel I wanted to write, and got a couple of good reviews but no real traction. I had no idea how to get a job in TV.
The critics gave me bad reviews on every movie I made.
I have always been pushed by the negative. The apparent failure of a play sends me back to my typewriter that very night, before the reviews are out. I am more compelled to get back to work than if I had a success.
Generally, I get bad reviews in Turkey.
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.
You know, since the reviews have come out and people have reacted to it, I’ve realized that is in a sense what has happened. But as I was writing them, I didn’t feel a part of any tradition. I think that would have been too overwhelming, in a sense.
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?
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.
Reviews about film acting are very… tricky, because movies are such a collaborative thing.
I’ve sold a lot of records. I’ve sold, like, 150 million records, and I don’t think I’ve had that many good reviews. It’s one of those things that when you’re really successful, critics hate you just because you’re successful.
I’m still spending my working life trying to mine people’s souls and now they’re complimenting me in reviews on the amount of time I spend in the gym. On the definition of my triceps.
The truth is, as much as I loved writing restaurant reviews, it always felt very self-indulgent to me. It was so much fun, I loved doing it, but there’s so much else to say about food.
I love to see the rarest movies, the most talked-about movies and documentaries. I read all the reviews and compare them to see if it’s worth going! I have a secret movie critic blog I have shown no one or promoted, and I intend to keep it that way.
I believe that music is about making quality things, making quality art, and no matter who you decide to work with, you and that person have to come up with something special, come up with something that is excellent material, so whoever hears it and reviews it will like it.
Every weekend from, like, 1974 to 1978, I’d trudge over to the Greenwich library, which gathered up almost every major newspaper in the country. I would sit there all day long and read and read and read the reviews. I remember being twelve or thirteen and writing to Judith Crist, Pauline Kael, and Roger Ebert.
Combined families often get bad reviews, but the family my children got when they traded away ‘the suffocating four-person’ nuclear one is one that has benefited all of them.
If I like a book, I tend to read the author’s entire collection. But I choose mainly through personal recommendations, general word of mouth and book reviews.
I don’t want to become too self-conscious – it’s why I never read reviews, even the good ones.
I never read reviews. I’m not interested. But I value a lot the reactions of the spectators.
My early reviews were so bad that I decided I didn’t want to read them again.
If I had my way, I wouldn’t do annual reviews, if I felt that everybody would be more honest about positive and negative feedback along the way. I think the annual review process is so antiquated.
I’ve read quite a few readers’ reviews of my book on Amazon, saying, ‘Ah, he criticises the free market, he advocates central planning.’ I don’t do that for a minute! But this is our black and white, dichotomous way of thinking – which has really been harmful.
Somehow, the whole idea of me writing art reviews was just too much of a complicated thought, but I liked art, and later on I just realized that it would be perhaps a pleasure, and so I decided to do it for ‘Art in America’ – a lot.
I don’t do shows. I don’t have reviews. I’m not putting the clothes on every celebrity so that by the time they reach the store the customers are sick of seeing them.
I don’t want to lie to my subscribers, so I’m really honest about my reviews and stuff.
I did some film reviews for small papers in Finland and things like that to be able to keep living here.
The ‘New York Times‘ reviews of my work have been evenly divided – favourable and unfavourable.
When we talk about novels, we don’t often talk about imagination. Why not? Does it seem too first grade? In reviews, you read about limpid prose, about the faithful reproduction of consciousness, about moral heft, but rarely about the power of pure, unadulterated imagination.
I don’t read reviews, and I try not to read articles about me. It taints your outlook: if you believe the good things, you’ve got to believe the bad things, too.
As authors, we all expect criticism from time to time, and we all have our ways of coping with unfriendly reviews.
I do this for the sake of myself. It’s a selfish process. I don’t really have any expectations from anyone for your comments or your reviews or your previews.
I don’t take reviews very seriously, but in their totality I think they are representative of how the audience feels, and of what their reaction is. There’s always one guy who doesn’t get it.
My resume showed membership on both the Harvard and Columbia Law Reviews, a credit impressive abroad where it was not generally known that Law Reviews were student-operated publications.
The worse the reviews, the better for our demographic.
For whatever reason, luck and word of mouth – my comedy career couldn’t have started better. I went to Edinburgh, selling out this 300-seater just because I got the right place, right time, right venue, right buzz, right reviews early on.
You get terribly depressed if they’re bad for you and if they’re good then you start playing your reviews, emphasizing those things that the reviewer likes.
My generation was not only maligned in book reviews and attacked in graduate school but we lived to see our adored and adorable daughters wonder why feminism had become a dirty word.
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.
In one respect, it’s easier to open a restaurant in New York because you get more media attention than anywhere else. Almost everyone will try a new place once, irrespective of the reviews, because it’s a spectator sport.
People always say that you shouldn’t read reviews at all, or if you do then believe both the good and the bad ones. I just choose to believe the ones that think I’m brilliant. The ones that don’t, well, I just don’t bother with them.
Musical theatre history is littered with bad reviews for now classic pieces.
Having your book edited is like watching your cat being operated on. It’s uncomfortable and someone is probably going to get hurt. Most likely the cat. But in the end, things work out for the best and your cat is better it. And then your cat gets released in hardcover, and you have to read all of his reviews.
I don’t generally do movies that get good reviews.
Browse Amazon reviews, and you’ll see a surprising number of readers who believe one novel can summarize a country, its culture, and its people.
I let the other reviewers eat the bad meals, so that I didn’t have to, and my wife and I went out only for the good stuff. And I wrote mostly positive reviews. Not only. But mostly. And, ooooh, it felt an awful lot better.
I don’t really read reviews… That’s not where my attention goes.
I don’t read reviews.
‘To Kill a Mockingbird‘ appeared to highly favorable reviews and quickly climbed to the top of bestseller lists, where it remained for more than eighty weeks. In 1961, the novel was awarded the Pulitzer Prize. A film adaptation was released in 1962, starring Gregory Peck, and received three Academy Awards.
One thing I loved when I was growing up, you maybe saw one review from a magazine like ‘Rolling Stone,’ but now there are 150 reviews before an album even comes out. There are so many opinions out there, but the only one that really matters is your own.
What I do find enormously gratifying is the reviews my books get from the American press. They are so on the ball compared to anywhere else. It’s so satisfying to get a review that conveys the reader understood precisely what I was trying to get at.
Since I got a really bad review when I was, like, 28 in ‘The New York Times,’ I don’t read reviews anymore.
Why do I do this every Sunday? Even the book reviews seem to be the same as last week’s. Different books same reviews.
We need to discuss what our own standards are for games writing that falls outside of journalism, and support experimental formats and routes of production that may be more tailored to them than the status quo, because the public at large seems to still think that the only games writing that exists are reviews and news.
The bad reviews get to me, believe me.
Of course I wish for all positive reviews and all positive things, but that’s not reality and no one’s perfect.
I can’t stay mad very long. I get grumpy when I read a bad review. I say, ‘How could he say that about my music?’ Then I forget about it. If I got mad every time somebody wrote something negative about me, I’d be exploding all the time. I’d be burned out just from reading reviews.
When ‘Braveheart’ came out it got terrible reviews, it didnt last very long in the cinema and didnt make much money.
When you think of technology that gets people excited – long lines at stores, enthusiastic reviews in the blogosphere, passionate evangelists – the first thing to come to mind probably isn’t thermostats. Then, along came Nest.
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.
The reviews are getting better, but they always do, in time, if you’re still alive.
I’ve experienced huge kindness here, a great welcome and some very generous reviews without the snide social edge I often suffer from at home. I’m not patronized here either, which I much appreciate!
People who’ve read my reviews know my tastes, know how I approach a book, know my background. I can write with believable authority. It doesn’t mean I’m always right.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
If I want to know how to do a black cat eye, I don’t drive to a department store. I’ll go on YouTube, cross-check reviews of a product, and then maybe talk about it on Instagram.
The way people receive our music is different and some people may say that our music is not metal. But I feel that those reviews allow us to challenge ourselves and gives us an opportunity to grow even more.
When ‘Himmatwala’ didn’t work, the negativity factor attached to the reviews were more pointed towards me. That’s when I realized, that something has gone wrong.
I don’t read reviews anymore.
I don’t pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.
My predecessors in this business of acting were fully convinced their work would never be recorded, except in the form of reviews or paintings.