For 934 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 6.3 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: 29 out of 934
934 movie reviews
    • 54 Metascore
    • 60 Noel Murray
    Some Velvet Morning is absorbing and enraging, sure to spark debate both about its meaning and its method. More importantly, it’s a phenomenal performance piece, with LaBute capturing the incredible gifts of two masters of pretense.
    • 50 Metascore
    • 60 Noel Murray
    Bogliano provides a steady series of jolts, all the way to an ending that’s twisty but ultimately unsatisfying.
    • 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.
    • 57 Metascore
    • 60 Noel Murray
    Generation War never becomes great, but it overcomes its stiff start in large part due to its scope.
    • 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.
    • 79 Metascore
    • 60 Noel Murray
    The main problem with Jodorowsky’s Dune is that a significant amount of what makes Jodorowsky’s work special gets lost in Pavich’s fairly ordinary approach to the documentary form.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 60 Noel Murray
    While Murdoch exhibits masterful control in a recording studio, he isn’t a natural-born filmmaker. Much of God Help The Girl feels haphazardly stitched together, with pieces missing or placed in the wrong order, as though Murdoch didn’t get all the footage he needed.
    • 65 Metascore
    • 60 Noel Murray
    While Memphis is similar in style and in assurance to the lower-ambition Pavilion, it reaches toward something it can’t fully grasp.
    • 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.
    • 67 Metascore
    • 60 Noel Murray
    Hellaware is short enough that its doggedness never gets tedious, but the film’s near-total absence of curveballs exposes either a limited imagination, or a lack of time and money to flesh out the premise.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 60 Noel Murray
    There’s a sketchbook quality to La Última Película; it’s like notes for a movie that never really got made. Because the film is stubbornly unpolished, it all but dares viewers to scratch their heads and say they don’t get it.
    • 68 Metascore
    • 60 Noel Murray
    While the plot relies too much on generalities, the film as a whole thrives on specifics.
    • 72 Metascore
    • 60 Noel Murray
    While La Sapienza is unsatisfying as drama, it’s frequently beautiful just as a tour through architecturally significant Italian buildings. And it’s intellectually engaging as an elaboration of their larger meaning.
    • 59 Metascore
    • 60 Noel Murray
    It’s a mash-up of familiar genre elements—too familiar, frankly—given a welcome sense of scope and shading by the location.
    • 65 Metascore
    • 60 Noel Murray
    What saves 1001 Grams from being excruciatingly cute is that it does have a clean look and a pleasant tone, and it’s about a subject that’s both unusual and entertaining.
    • 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.
    • 59 Metascore
    • 58 Noel Murray
    It isn't a biography of the legendary photographer, and it's not exactly an essay. Mostly, Bütler fills the screen with Cartier-Bresson's photographs while people explain their greatness.
    • 48 Metascore
    • 58 Noel Murray
    Anyone looking for history lessons from Rae's documentary will have to be patient and alert enough to pick through the poetry.
    • 51 Metascore
    • 58 Noel Murray
    Like a lot of Gitaï's films, Free Zone is part history, part allegory, and part art. Both the history and art hold their fascinations.
    • 64 Metascore
    • 58 Noel Murray
    After the first hour, it's clear the movie isn't going to offer any surprising new insights into messed-up modernity.
    • 56 Metascore
    • 58 Noel Murray
    It may be truer to the lives of his amateur cast to watch them engage in mumbly, inarticulate conversations between rounds of failed skate tricks, but it isn't especially cinematic.
    • 73 Metascore
    • 58 Noel Murray
    Heading South's gender politics keep the movie from being too simple, since these women's self-indulgence can be read as a kind of unfettered (and even laudable) feminism, instead of just unintentional racism.

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