input: Sunset Boulevard attracted a range of positive reviews from critics. Time described it as a story of "Hollywood at its worst told by Hollywood at its best", while Boxoffice Review wrote "the picture will keep spectators spellbound." James Agee, writing for Sight and Sound, praised the film and said Wilder and Brackett were "beautifully equipped to do the cold, exact, adroit, sardonic job they have done." Good Housekeeping described Swanson as a "great lady [who] spans another decade with her magic," while Look praised her "brilliant and haunting performance." Some critics accurately foresaw the film's lasting appeal. The Hollywood Reporter wrote that future generations would "set themselves the task of analyzing the durability and greatness" of the film, while Commonweal said that in the future "the Library of Congress will be glad to have in its archives a print of Sunset Boulevard." The rare negative comments included those from The New Yorker, which described the film as "a pretentious slice of Roquefort", containing only "the germ of a good idea". Thomas M. Pryor wrote for The New York Times that the plot device of using the dead Joe Gillis as narrator was "completely unworthy of Brackett and Wilder, but happily it does not interfere with the success of Sunset Boulevard". In 1999, Roger Ebert praised the acting of Holden and von Stroheim and has described Swanson's as "one of the all time greatest performances." He says Sunset Boulevard "remains the best drama ever made about the movies because it sees through the illusions." Pauline Kael described the film as "almost too clever, but at its best in its cleverness", and also wrote that it was common to "hear Billy Wilder called the world's greatest director." When Wilder died in 2002, obituaries singled out Sunset Boulevard for comment, describing it as one of his most significant works, along with Double Indemnity (1944) and Some Like It Hot (1959). The modern review aggregator Rotten Tomatoes reported that 98% of critics gave the film a positive review, based on 60 reviews with an average rating of 9.3/10, the site's consensus says, "Arguably the greatest movie about Hollywood, Billy Wilder's masterpiece Sunset Boulevard is a tremendously entertaining combination of noir, black comedy, and character study."

Answer this question "Were there any other good reviews?"
output: James Agee, writing for Sight and Sound, praised the film and said Wilder and Brackett were "beautifully equipped to do the cold, exact, adroit, sardonic job they have done."

input: Among Bring Me the Horizon's earliest influences were bands like At the Gates, Carcass, Pantera, Metallica, The Dillinger Escape Plan, Every Time I Die, Norma Jean, Skycamefalling and Poison the Well; and genres death metal, grindcore, and emo have been cited by AllMusic writer Steward Mason. However, as their sound developed, the band started to take influences from progressive rock, post-rock, dubstep and electronica. The band's musical style has been described mainly as metalcore and - though they have since moved on from the genre - their early material was considered deathcore. Across their career the band has also been said to play within the genres post-hardcore, hardcore punk, technical metal, heavy metal, and emo. Bring Me the Horizon have attempted to grow and change with each album, believing they should be different. Raziq Rauf, writing for Drowned In Sound, described Count Your Blessings as possessing "Norma Jean-style thunderous riffs mixed with some dastardly sludgy doom moments and more breakdowns than your dad's old Nissan Sunny." Metal Hammer described Suicide Season as a "creative, critical and commercial success" for the band as they started to adopt a more eclectic style, with its "crushingly heavy party deathcore". Leading up to its release Oliver Sykes described it as "100% different to Count Your Blessings" and noted the album sounds "more rock than metal". As time went by, Bring Me the Horizon began rejecting their debut album Count Your Blessings and considered Suicide Season as their "Year Zero[...] [their] wipe-the-slate-clean time". Bring Me the Horizon then moved even further away from deathcore with their third album There Is a Hell, which incorporated electronica, classical music and pop music into their metalcore style. This required more ambitious production feats, such as using a full choir, a synthesised orchestra and glitched out vocals and breakdowns that were also toned down, favouring quiet atmospheric passages in song breaks. For the writing of Sempiternal, the band pooled far broader influences such as post-rock acts like This Will Destroy You and Explosions In The Sky and from pop music. Bring Me the Horizon has experimented with its music in recent years, mixing pop with metal music, leading the band to be labeled a "pop metal" act. With the release of That's the Spirit, their sound shifted towards alternative metal and alternative rock, also incorporated other genres such as pop rock and nu metal, while completely abandoning the metalcore sound of their earlier albums.

Answer this question "Did they ever make a statement regarding this influence?"
output:

input: Le Corbusier moved to Paris definitively in 1917 and began his own architectural practice with his cousin, Pierre Jeanneret (1896-1967), a partnership that would last until the 1950s, with an interruption in the World War II years In 1918, Le Corbusier met the Cubist painter Amedee Ozenfant, in whom he recognised a kindred spirit. Ozenfant encouraged him to paint, and the two began a period of collaboration. Rejecting Cubism as irrational and "romantic", the pair jointly published their manifesto, Apres le cubisme and established a new artistic movement, Purism. Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture. In the first issue of the journal, in 1920, Charles-Edouard Jeanneret adopted Le Corbusier (an altered form of his maternal grandfather's name, Lecorbesier) as a pseudonym, reflecting his belief that anyone could reinvent themselves. Adopting a single name to identify oneself was in vogue by artists in many fields during that era, especially in Paris. Between 1918 and 1922, Le Corbusier did not build anything, concentrating his efforts on Purist theory and painting. In 1922, he and his cousin Pierre Jeanneret opened a studio in Paris at 35 rue de Sevres. His theoretical studies soon advanced into several different single-family house models. Among these was the Maison "Citrohan", a pun on the name of the French Citroen automaker, for the modern industrial methods and materials Le Corbusier advocated using for the house. Here, Le Corbusier proposed a three-floor structure, with a double-height living room, bedrooms on the second floor, and a kitchen on the third floor. The roof would be occupied by a sun terrace. On the exterior Le Corbusier installed a stairway to provide second-floor access from ground level. Here, as in other projects from this period, he also designed the facades to include large uninterrupted banks of windows. The house used a rectangular plan, with exterior walls that were not filled by windows but left as white, stuccoed spaces. Le Corbusier and Jeanneret left the interior aesthetically spare, with any movable furniture made of tubular metal frames. Light fixtures usually comprised single, bare bulbs. Interior walls also were left white.

Answer this question "Did they do anything other than painting?"
output:
Ozenfant and Le Corbusier began writing for a new journal, L'Esprit Nouveau, and promoted with energy and imagination his ideas of architecture.