In 1939, reviewing the beloved M-G-M classic “The Wizard of Oz” for The New Yorker, the critic Russell Maloney declared that the film held “no trace of imagination, good taste, or ingenuity.” The use of color was “eye-straining,” the dialogue was unbelievable, and the movie as a whole was “a stinkeroo.” This take might shock today’s audiences, but Maloney is far from the only critic to go so pointedly against the popular view. In a special live show celebrating The New Yorker’s centenary, the hosts of Critics at Large discuss this and other examples drawn from the magazine’s archives, including Dorothy Parker’s 1928 takedown of “Winnie-the-Pooh” and Pauline Kael’s assessment of Al Pacino as “a lump” at the center of “Scarface.” These pieces reveal something essential about the role of criticism and the value of thinking through a work’s artistic merits (or lack thereof) on the page. “I felt all these feelings while reading Terrence Rafferty tearing to shreds ‘When Harry Met Sally…,’ ” Alexandra Schwartz says. “But it made the movie come alive for me again, to have to dispute it with the critic.”

Read, watch, and listen with the critics:

“Lies, Lies, and More Lies,” by Terrence Rafferty (The New Yorker)

“Bitches and Witches,” by John Lahr (The New Yorker)

“Don’t Shoot the Book-Reviewer; He’s Doing the Best He Can,” by Clifton Fadiman (The New Yorker)

“The Feminine Mystique,” by Pauline Kael (The New Yorker)

“The Wizard of Hollywood,” by Russell Maloney (The New Yorker)

“The Fake Force of Tony Montana,” by Pauline Kael (The New Yorker)

“Renoir’s Problem Nudes,” by Peter Schjeldahl (The New Yorker)

“Humans of New York and the Cavalier Consumption of Others,” by Vinson Cunningham (The New Yorker)

“The Great Sadness of Ben Affleck,” by Naomi Fry (The New Yorker)

“President Killers and Princess Diana Find Musical Immortality,” by Alexandra Schwartz (The New Yorker)

“Obscure Objects of Desire: On Jeffrey Eugenides,” by Alexandra Schwartz (The Nation)

“Reading ‘The House at Pooh Corner,’ ” by Dorothy Parker (The New Yorker)

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