For 1,074 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 5 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 To Be and to Have
Lowest review score: 10 The Final Project
Score distribution:
1074 movie reviews
    • 43 Metascore
    • 58 Noel Murray
    Survival has lots of those clever kills; Romero just doesn't provide enough reason for them to be.
    • 70 Metascore
    • 58 Noel Murray
    Walker has something important to say with Countdown To Zero, but if this movie were standing on a doorstep with a petition, most reasonable people would sign it quickly and send it on its way, rather than inviting it in to chat.
    • 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.
    • 61 Metascore
    • 58 Noel Murray
    Conviction is like "Erin Brockovich" meets "Rudy."
    • 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.
    • 50 Metascore
    • 58 Noel Murray
    Vanishing On 7th Street does work well as a kind of mood-piece, observing all the ways we surround ourselves with the illusion of warmth and security, before the shadows creep in.
    • 70 Metascore
    • 58 Noel Murray
    Queen To Play has a winning heroine, who fantasizes about being special and then works hard to make it happen. Too bad the rest of the movie is so common.
    • 65 Metascore
    • 58 Noel Murray
    It might've mattered to the audience too, if we had any inkling from the first hour of The Robber who this guy is, or why we should care what happens to him.
    • 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.
    • 63 Metascore
    • 58 Noel Murray
    A corporate crime thriller that explores the relationships of women in power, but while Corneau delivers a slick, well-acted piece with a surprising mid-movie twist, Love Crime is too thin and too on-point to deliver the jolt he and co-screenwriter Nathalie Carter most likely intended.
    • 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.
    • 65 Metascore
    • 58 Noel Murray
    Windfall is undeniably persuasive - and is likely advocating on the right side of the wind-farm issue - but the movie's case relies more on emotional appeals and frightening images of giant machines than on real, objective number-crunching.
    • 74 Metascore
    • 58 Noel Murray
    This aestheticizing of troubled lives proves problematic over the long haul.
    • 38 Metascore
    • 58 Noel Murray
    Ridiculousness aside, though, Brake is reasonably impressive both as a performance piece and as an exercise in staging.
    • 48 Metascore
    • 58 Noel Murray
    It's a fascinating film to think about, but far too cool to touch.
    • 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.
    • 63 Metascore
    • 58 Noel Murray
    The Other Son's setup is too contrived, carried along by conversations that are either confrontational or artificially elusive.
    • 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.
    • 39 Metascore
    • 58 Noel Murray
    Right up until the quake, Aftershock is a bland, sub-"Hangover" comedy about guys on the make in South America. Then finally, blessedly, the ground swallows up these shallow idiots.
    • 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.
    • 66 Metascore
    • 58 Noel Murray
    That’s the nature of Truth: a promising build-up, dead-ending into prosaic pontification.
    • 69 Metascore
    • 58 Noel Murray
    There’s a rigidity of purpose here that keeps A Nazi Legacy from ever becoming startling or revelatory.
    • 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.
    • 57 Metascore
    • 58 Noel Murray
    There’s an element of parlor trickery here that the movie’s never entirely able to overcome.
    • 57 Metascore
    • 58 Noel Murray
    The main reason for anyone to see One More Time...is Walken, who brings a lot of life and fine shading to what could’ve been a one-note deadbeat dad type.
    • 31 Metascore
    • 58 Noel Murray
    Ma Ma’s corny simplicity makes its many flourishes look excessive, and even desperate.
    • 61 Metascore
    • 58 Noel Murray
    The end result is awfully sketchy, more a collection of ideas and memories than a proper film.
    • 35 Metascore
    • 50 Noel Murray
    In spite of a little bit of sex and a lot of strong profanity, Ordinary Sinner is pretty reminiscent of an old Afterschool Special.
    • 57 Metascore
    • 50 Noel Murray
    The Tony Scott version of Tarantino comes out vulgar; the graphic violence and profanity-laced posturing represent everything that the wannabes soon used to exhaust audiences. Nevertheless, True Romance contains so many unforgettable moments.

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