Question: Which film critic likened the film to an experience of tunnel vision?
About the article "Jiro Dreams of Sushi", section "Critical reception".

Candidate passages:
Tunnel vision or tunnelvision may refer to:  Tunnel vision, a medical term for the loss of peripheral vision  "Tunnel Vision" (album), an album by singer/songwriter Nathan Stickman  "Tunnel Vision" (song), a 2013 single by American singer-songwriter Justin Timberlake  "Tunnel Vision" (film), a 1976 comedy film  "Tunnel Vision" (1995 film), an Australian film  , a 2008 episode of ""  "Tunnel Vision", a 2001 novel by author Keith Lowe  "Tunnel Vision: Trial & Error", a 2002 book by author Robert O. Marshall  Tunnelvision, 1975 mural by artist Blue Sky  Tunnelvision, a band recording for Factory Records in 1981  "TunnelVision Brilliance", a 2006 album by Scott Reeder  Tunnel vision, as a metaphor, may also denote the reluctance to consider alternatives to one's preferred line of thought; this could include physicians treating afflictions, detectives considering crime suspects, or anyone predisposed to a favoured outcome  
The film was given a rapturous review by the critic Pauline Kael in "The New Yorker" : " "The Night of the Shooting Stars" is so good it's thrilling.
This new film encompasses a vision of the world.
Comedy, tragedy, vaudeville, melodrama - they're all here, and inseparable...
In its feeling and completeness, "Shooting Stars" may be close to the rank of Jean Renoir's bafflingly beautiful "Grand Illusion"...unreality doesn't seem divorced from experience (as it does with Fellini) - it's experience made more intense... For the Tavianis, as for Cecilia, the search for the American liberators is the time of their lives.
For an American audience, the film stirs warm but tormenting memories of a time when we were beloved and were a hopeful people."
The film has received mixed-to-negative reviews from American critics.
Film critic Phil Boatwright called the film "a compelling, thoughtful homage to religious freedom," saying it brings back memories of "El Cid" and "A Man for All Seasons".
Stephen Holden of "The New York Times" described the film as an "old-fashioned, Hollywood-style epic" and said it compared favorably to Christian mega-hits of the 1950s such as "The Robe".
He was most satisfied with Dean Wright, referring to his direction as "impressively spacious".
Composer James Horner also scored high marks for his score which Holden found "uplifting without being syrupy" and which set an "inspirational mood".
Roger Ebert's complaint that "it is well-made, yes, but has such pro-Catholic tunnel vision I began to question its view of events."
As of June 20, 2012 it holds a 35% rating on Metacritic based on 17 critics, and a 16% rating on Rotten Tomatoes based on 42 reviews.
The latter site states: "It has laudable aspirations, but "For Greater Glory" ultimately fails to fulfill its goals due to an overstuffed script, thinly written characters, and an overly simplified dramatization of historical events.
"The fact that the Cristero War is little known – even in Mexico – is illustrated by film critic Steven D. Greydanus.
He writes that "For Greater Glory" may help to rectify the situation.
He observes that the film is "one of the most lavish and ambitious films ever produced in Mexico" and "a sweeping, handsome epic with strong performances, solid production values and magnificent locations across Mexico."
However he found the screenplay overbearing and would have liked to have seen more character development.
Lauren Markoe, discussing the film for the Religion News Service, wrote: 
Gross Misconduct is a 1993 thriller film directed by George T. Miller.
It stars Jimmy Smits and Naomi Watts.
It was nominated for an award by the Australian Film Institute in 1993.
The film has been likened to an Australian version of "Fatal Attraction". 
Tunnel Vision is a 1995 Australian film.
The film was shot from 14 February to 20 March 1994 but was not released theatrically and was not released on video until 1996.