David Thomson

Whereas both Kael and Kauffmann thought Arthur Miller had created a compelling character in Angela Crispini, drawn, they felt, from Marilyln Monroe, David Thomson, in A Biographical Dictionary of Film in 1993, found the movie unplayable.
In the early 80’s, Thomson thought Winger one of the “. . . . “ of American actresses, but . . . an early admirer of Winger’s “bravura tough prettiness” and “ . . . “ [I should find another quote] in Urban Cowboy, Cannery Row, and Terms of Endearment, but thought her career declined after that. Her “liquid acting” in Everybody Wins as praised by Kael was seen by Thomson as “lack of technique”.

"There are mixed feelings over Everybody Wins (90, Karel Reisz.) Pauline Kael believed Winger was extraordinary in it, playing a schizophrenic, swooping from sexuality to coldness. I felt the picture was incoherent and foolish, and another sign of the actress’s lack of technique. No player could be blamed for Everybody Wins. The script was the root of the problem. But why had she accepted the part? And how did she seem so undirected?"

David Thomson
A Biographical Dictionary of Film, 3rd Ed.
Page 815

That undirected-ness