From the moment Kael began as a film critic at The New Yorker, at the start of 1968, she presided over the movies in the manner of Béla Károlyi watching a gymnast on the balance beam—shouting directives, excoriating every flub, and cheering uncontrollably when a filmmaker stuck his landing. She spent much of her career chastening Hollywood’s excesses while brushing off complaints about immoderation on her own part. She did not regard this as a hypocritical endeavor. Kael wrote quickly and at length, regularly pulling all-nighters into her Tuesday deadlines with the help of cigarettes and bourbon (till she gave up both). Her kinetic passion, her chatty-seatmate prose, and her detail-heckling made her a pop-culture oracle in an era that desperately needed one.
“What She Said.” — Nathan Heller, The New Yorker
See also: ‘Memory.’ The Introduction to Roger Ebert’s New Memoir ‘Life Itself’ — July 15, 2011