For 995 reviews, this critic has graded:
  • 51% higher than the average critic
  • 5% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 A Christmas Story
Lowest review score: 10 A Love Song for Bobby Long
Score distribution:
  1. Negative: 37 out of 995
995 movie reviews
    • 56 Metascore
    • 60 Noel Murray
    Philibert allows even those who’ve never heard a second of Radio France to experience what the network is like, on both sides of the speakers.
    • 52 Metascore
    • 60 Noel Murray
    Though its milieu is often ugly and its story fairly soft, You'll Get Over It gets by thanks to its cast. The French film industry has a knack for finding attractive, expressive young actors, and this movie is no exception.
    • 60 Metascore
    • 60 Noel Murray
    Jacobs focuses almost exclusively on Dobson's theories and mission, which he illustrates by contrasting jaw-dropping images of the sun's surface with people ignoring Dobson's entreaties to "Come look at the sun."
    • 61 Metascore
    • 60 Noel Murray
    Even at its goofiest, Through The Never brings back the communal appeal of those early concert films, which were often just a way for young fans to bond with other young fans over the music of entertainers who seemed to understand what they really wanted.
    • 72 Metascore
    • 60 Noel Murray
    Dormant Beauty always comes back to the difficult decisions that family members have to make for each other, contrasted with the huffiness of outsiders who try to project their own beliefs onto someone else’s business.
    • 66 Metascore
    • 60 Noel Murray
    The Take tells a compelling story of courageous, industrious people, but it begs for a second act.
    • 45 Metascore
    • 60 Noel Murray
    The sensual sex scenes and raw violence of God's Sandbox make it pretty much an exploitation film, and as an exploitation film, it isn't bad.
    • 63 Metascore
    • 60 Noel Murray
    The absence of style can be numbing, but it serves a purpose, positioning the documentary as a public record, not a work of art. As such, the film is eye-opening.
    • 70 Metascore
    • 60 Noel Murray
    When El Bola isn't drawing cheap sentiment from the sight of a bruised and scarred little boy, Mañas raises vexing questions about how and why parents leave lasting impressions on their children, and whether good intentions really matter.
    • 65 Metascore
    • 60 Noel Murray
    If the people in Chrystal are intended to be authentic, why do none of them look like they've ever seen the inside of a Wal-Mart?
    • 47 Metascore
    • 60 Noel Murray
    Predictable and corny, but to their credit, Cary and Rose strive to make the situation real.
    • 67 Metascore
    • 60 Noel Murray
    Mostly though, The Goebbels Experiment proves that historical figures have the worst perspective on themselves.
    • 60 Metascore
    • 60 Noel Murray
    The documentary is short, vividly shot, and packed with interviews in which desperate young men and women let loose their personal philosophies. In fact, there's so much philosophizing that there's not much time left for rap.
    • 65 Metascore
    • 60 Noel Murray
    Birth Of The Living Dead excels in Kuhns’ gathering of critics, academics, and filmmakers to analyze how and why the film works so well.
    • 64 Metascore
    • 60 Noel Murray
    Cutesy and slight, but it's also polished and well-lit, and Muyl makes a weeklong hike roll by pleasantly, reducing it to about 80 minutes of screen time.
    • 53 Metascore
    • 60 Noel Murray
    On Any Sunday: The Next Chapter is doggedly down the middle, mixing sports action with talking-head interviews, set to an eclectic soundtrack of rock and country music. The movie feels scattered, jumping too quickly from subject to subject, with little of the original’s visual poetry.
    • 66 Metascore
    • 60 Noel Murray
    While the movie isn’t a consistently riveting four hours, Hoogendijk does keep finding images and moments that demystify the museum business while making the art seem all the more magical.
    • 68 Metascore
    • 60 Noel Murray
    Red Obsession is informative, and entertainingly so, with its honeyed Russell Crowe narration and sweet tracking shots through sun-dappled vineyards.
    • 56 Metascore
    • 60 Noel Murray
    Mettler is in no hurry to get to any particular point in The End Of Time. The film leaps from subject to subject—slowly, and somewhat haphazardly.
    • 54 Metascore
    • 60 Noel Murray
    As one man's vacation video, it's outstanding, but as a documentary, it lacks verve, stylistically or journalistically.
    • 76 Metascore
    • 60 Noel Murray
    Even though Gondry and Chomsky’s very different sensibilities don’t mesh in such a way that either man’s work gains substantially from the alliance, they’re each such good company individually that Is The Man Who Is Tall Happy? is still entertaining.
    • 56 Metascore
    • 60 Noel Murray
    As a story, it never develops beyond the routine. Still, the aesthetic philosophizing works as a framework for daring visual experiments.
    • 82 Metascore
    • 60 Noel Murray
    This is a small film about a society of castoffs, and while it’s beautifully acted and often moving, it’s also predictable, because it keeps wresting itself into familiar forms.
    • 51 Metascore
    • 60 Noel Murray
    Because the tone is so erratic, it’s hard to know whether its anticlimactic quality is a botch on Araki’s part, or a purposeful bit of genre subversion.
    • 52 Metascore
    • 60 Noel Murray
    After establishing the AFFA’s complex, corrupt social structure, Stone and Logan wimp out considerably in the second half of Any Given Sunday, piling on the sports-melodrama clichés.
    • 64 Metascore
    • 60 Noel Murray
    Testin and Berg's work here is definitely promising, suggesting something better from both of them down the road.
    • 52 Metascore
    • 60 Noel Murray
    Beautifully lit, with some inventive but unobtrusive framing, and the moody jazz score unifies the multiple storylines without overwhelming them. Yet while the movie never goes slack, it never really transcends its good intentions either.
    • 67 Metascore
    • 60 Noel Murray
    Shawn’s adaptation mostly follows Ibsen’s original text, which is what keeps A Master Builder on the level of a well-meaning but only intermittently electrifying exercise.

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