For 1,184 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 Under the Shadow
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
1184 movie reviews
    • 56 Metascore
    • 58 Noel Murray
    At 70 minutes, Douchebag feels both rushed and way too slack, but the bigger problem is that the kind of characters and humor this movie traffics in can be found in a more compact, amusing package on the average FX show.
    • 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.
    • 54 Metascore
    • 58 Noel Murray
    The movie is exciting at times, moving at times, and watchable throughout, but fans of The Germs and L.A. punk may start to pine for what's missing around the time Michele Hicks shows up.
    • 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.
    • 43 Metascore
    • 58 Noel Murray
    While the actors are game, their characters are awfully generic.
    • 56 Metascore
    • 58 Noel Murray
    Bob Byington’s 7 Chinese Brothers is no "Listen Up Philip," but it’s an amiable enough slacker comedy, boosted by its star.
    • 72 Metascore
    • 58 Noel Murray
    As an expression of the filmmaker’s own sense of guilt over buying into the Apple myth, this picture intends to be a bummer.
    • 52 Metascore
    • 58 Noel Murray
    As an expression of from-the-gut anti-war rage, Redacted is admirable, but as art, it's undercooked.
    • 51 Metascore
    • 58 Noel Murray
    Brian Savelson's small-scaled domestic drama In Our Nature evokes a specific, fairly common experience: when two young lovers expose a still-blossoming relationship to their relatives' stifling attention.
    • 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.
    • 64 Metascore
    • 58 Noel Murray
    Ultimately though, apart from the ages of the protagonists, Cloud 9 is a standard-issue infidelity story.
    • 48 Metascore
    • 58 Noel Murray
    It's a fascinating film to think about, but far too cool to touch.
    • 63 Metascore
    • 58 Noel Murray
    The Other Son's setup is too contrived, carried along by conversations that are either confrontational or artificially elusive.
    • 54 Metascore
    • 58 Noel Murray
    If only Snow Cake had hewed closer to this idea of showing what an adult autist's life and experiences are like, rather than getting caught up in Rickman's rote re-awakening, it could've been as powerful as it strains to be.
    • 65 Metascore
    • 58 Noel Murray
    Tucker & Dale Vs. Evil is too slick and too cute; Tudyk and Labine are terrific comic actors, but the movie might've been better served by less-recognizable faces.
    • 47 Metascore
    • 58 Noel Murray
    Full Grown Men often becomes as intolerably silly as the twee Amerindies it's reacting to.
    • 20 Metascore
    • 58 Noel Murray
    Though The Informers is by no means great--nor wholly true to the vision of Ellis, who co-wrote the screenplay with Nicholas Jarecki--moments sprinkled throughout the film capture Ellis' particular mix of flip yuppie satire and lived-in paranoia better than any big-screen version of his work to date.
    • 72 Metascore
    • 58 Noel Murray
    The smartest move that McGlynn makes in Rejoice And Shout is to let those old performances run on at length.
    • 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.
    • 43 Metascore
    • 58 Noel Murray
    Survival has lots of those clever kills; Romero just doesn't provide enough reason for them to be.
    • 57 Metascore
    • 58 Noel Murray
    There’s an element of parlor trickery here that the movie’s never entirely able to overcome.
    • 73 Metascore
    • 58 Noel Murray
    Amreeka lacks the sense of humor that set "Aliens In America" apart--and frankly, it’s rarely as insightful about the biases and strengths either of Arab émigrés or of sheltered Midwesterners.
    • 37 Metascore
    • 58 Noel Murray
    The book may have been too unwieldy for Roos to wrangle. There's a lot of story (and backstory) here, which Roos tries to squeeze in every which way.
    • 31 Metascore
    • 58 Noel Murray
    Ma Ma’s corny simplicity makes its many flourishes look excessive, and even desperate.
    • 52 Metascore
    • 58 Noel Murray
    Isn't slow-paced. It’s slick and audience-friendly.
    • 25 Metascore
    • 58 Noel Murray
    Extraction’s also not, by any stretch of the imagination, “good.” But at least it doesn’t waste everybody’s time.
    • 46 Metascore
    • 58 Noel Murray
    Overall, The Oranges appears to have been forcibly wrested into a conventional indie-dramedy package, rather than finding the length, style, structure, and perhaps medium that would best suit it.
    • 69 Metascore
    • 58 Noel Murray
    There’s a rigidity of purpose here that keeps A Nazi Legacy from ever becoming startling or revelatory.
    • 74 Metascore
    • 58 Noel Murray
    This aestheticizing of troubled lives proves problematic over the long haul.
    • 49 Metascore
    • 58 Noel Murray
    A respectable enough little ghost story, but it loses a lot of sparkle by being similar to such other guy-talks-to-the-dead thrillers as "The Sixth Sense" and "Ghost Town."

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