For 1,182 reviews, this critic has graded:
  • 52% higher than the average critic
  • 6% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 L'Enfant (The Child)
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
1182 movie reviews
    • 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.
    • 59 Metascore
    • 60 Noel Murray
    Beyond the Gates is more imaginative than frightening, and Stewart and co-writer Stephen Scarlata take too long to get to the good parts, killing time with long dialogue scenes where the characters pause interminably between lines.
    • 64 Metascore
    • 60 Noel Murray
    Testin and Berg's work here is definitely promising, suggesting something better from both of them down the road.
    • tbd Metascore
    • 60 Noel Murray
    Mostly The Windmill is about watching some morally shaky people die horribly. But they do it with such dramatic gravitas that their inevitable eviscerations seem almost profound.
    • 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.
    • 42 Metascore
    • 60 Noel Murray
    An otherwise plain action picture carried by strong performances and a mildly compelling mystery.
    • 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.
    • 74 Metascore
    • 60 Noel Murray
    In the end, it all gets to be too stifling. The film looks amazing, and there may be no better way to adapt Darger's work to the screen. But Yu's decision to limit the comments on Darger's enduring appeal keeps the audience locked in his cramped room too long, without a window of context.
    • 46 Metascore
    • 60 Noel Murray
    Ravenous is misbegotten in multiple ways. It isn’t scary enough to be an effective horror movie, or funny enough to be much of a comedy... But say this for Ravenous: It isn’t generic.
    • 63 Metascore
    • 60 Noel Murray
    Too much of Ari Folman’s half-animated science-fiction feature The Congress feels just a bit off—but every now and then, the concept, the performances, and Folman’s visual flair combine to produce something extraordinary.
    • 79 Metascore
    • 60 Noel Murray
    Simien is clearly a talented, witty writer, with a fantastic sense of character development and dialogue, but he makes a lot of rookie mistakes as a filmmaker, from trying to cover too much ground in one movie to making stylistic choices that render Dear White People visually incomprehensible.
    • 76 Metascore
    • 60 Noel Murray
    Intimate Stories stays doggedly, purposefully minor, in part because director Carlos Sorin and screenwriter Pablo Solarz want to explore the casual interactions of people doing nothing.
    • 71 Metascore
    • 60 Noel Murray
    If von Carolsfeld had worked more surprises into her style and presentation, Marion Bridge wouldn't live down to its genre stereotype so readily.
    • 62 Metascore
    • 60 Noel Murray
    Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
    • 66 Metascore
    • 60 Noel Murray
    The Phenom may be choppy, but it’s saying something sincere about how the pressure to be thought of as a winner can be an athlete’s most formidable opponent.
    • 58 Metascore
    • 60 Noel Murray
    Baskin won't be for everybody, but it's well made and imaginatively upsetting.
    • 67 Metascore
    • 60 Noel Murray
    They Will Have to Kill Us First doesn't offer much of a primer on Mali's political or cultural histories — which is the movie's biggest weakness. But Schwartz did capture some remarkable footage of musicians who've spent the last few years taking tentative steps to reclaim what makes their nation special.
    • 53 Metascore
    • 60 Noel Murray
    Big Game tries a little of everything, but ultimately settles into being a scrappy, lower-budget spin on the Big Dopey Action Movie genre. And as with nearly every stab at the BDAM, the audience’s satisfaction will depend largely on just how dopey they expect it to be.
    • 63 Metascore
    • 60 Noel Murray
    There’s a matter-of-factness to Israel: A Home Movie that’s disquieting, as it shows the joy and determination of a nation in the making, and the dismayed faces of those elbowed aside.
    • 66 Metascore
    • 60 Noel Murray
    The writer-director's overthinking on the matter is part of what's wrong with her debut film, which is sensitively shot, deeply felt, and dry as dirt.
    • 45 Metascore
    • 60 Noel Murray
    Love Object's plot is reminiscent of Guy Colwell's underground comic-book series "Doll," only Colwell dealt more with sex toys as emblematic of the systematic objectification of women, while Parigi just uses the concept for a bunch of weird shocks, dark laughs, and a fairly repellent twist ending.
    • 60 Metascore
    • 60 Noel Murray
    It'd be great if Rooms For Tourists had a clearer point, or something significant to say about the human condition, but even in spite of its low budget, cruddy look, and modest aspirations, the movie is art of a kind.
    • 70 Metascore
    • 60 Noel Murray
    Has a free-ranging mood, mixing tragedy and comedy irregularly, but Jeong's film is equally free with genre, and entertains its audience openly before pouring on the astringent.
    • 44 Metascore
    • 60 Noel Murray
    All four of the main performances are so strong that they deserve more space to develop and intertwine. Instead, at times, Blood plays like one long “previously on” montage for the series that inspired it.
    • 36 Metascore
    • 60 Noel Murray
    The plot of Solace is ultimately too generic — and too silly — to take seriously, which is probably why the film’s taken so long to come out. But it has style, and throwback appeal.
    • 72 Metascore
    • 60 Noel Murray
    7 Boxes is way too simple, but it mostly works, because every twist of the plot and turn of the street leads back to this one kid, who’ll do anything to make enough money to become someone other than himself.
    • 65 Metascore
    • 60 Noel Murray
    Spinning Plates is a slow starter... But the documentary finds more of a rhythm once it moves beyond generalities and starts getting into particulars.
    • 74 Metascore
    • 60 Noel Murray
    Taylor does her cause no real favors by trotting out only the most articulate, most clearly railroaded exonerees. It should be just as chilling to learn that even the shady get screwed.
    • 64 Metascore
    • 60 Noel Murray
    What saves Chinese Puzzle—making it not just tolerable, but likable—is how well Klapisch uses New York. The movie embraces the whole city.
    • 69 Metascore
    • 60 Noel Murray
    Nothing Can Hurt Me is frustratingly unfocused, petering out considerably after its first hour.

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