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 Martyrs
Score distribution:
  1. Negative: 37 out of 995
995 movie reviews
    • 61 Metascore
    • 50 Noel Murray
    Ultimately as fascinating as it is frustrating.
    • 57 Metascore
    • 50 Noel Murray
    While Saints And Sinners will strike some as a refreshingly even-toned social study, it's also a documentary heavy on talking heads and low on real drama. It's beautifully shot and deeply felt, but, for the most part, hearing a description of the film is as good as watching it.
    • 59 Metascore
    • 50 Noel Murray
    In their attempt to make rural life look magical, Scott and Pouliot dehumanize their characters, substituting quirks for true individuality.
    • 65 Metascore
    • 50 Noel Murray
    As documentary moviemaking, though, Ellis and Mueller's work falls a little flat.
    • 58 Metascore
    • 50 Noel Murray
    Miike has served up some of the most dumbfounding images in contemporary cinema.
    • 57 Metascore
    • 50 Noel Murray
    Though Robbins acts a little stiff, Morton remains stunning throughout, playing a mixture of her wide-eyed, deeply sensitive characters from "Morvern Callar" and "Minority Report." She suggests worlds within worlds.
    • 73 Metascore
    • 50 Noel Murray
    It's hard to know what's really happening in the movie versus what's merely running through the characters' heads, and the poignant final shot muddies the picture even more, raising the question of just when (or if) the story jumps from real to imaginary.
    • 67 Metascore
    • 50 Noel Murray
    Too many of these characters behave like they just stepped out of a Noel Coward production.
    • 48 Metascore
    • 50 Noel Murray
    Though clumsy, Particles Of Truth isn't hopeless. Before turning to filmmaking, Elster made her living as a celebrity fashion stylist, so she has a good eye for color, motion, and the feel of New York in summer. And, because she worked primarily on music videos, she uses music well.
    • 77 Metascore
    • 50 Noel Murray
    Di Florio loses her grip on Liuzzo's story whenever she lapses into generalities. But when Di Florio gets into the specifics of her subject's legacy, Home Of The Brave stands out as both relevant and moving.
    • 75 Metascore
    • 50 Noel Murray
    Guerrilla still holds up as social history, primarily because its description of seething frustration in a divided America has become spookily relevant.
    • 46 Metascore
    • 50 Noel Murray
    Anyone who thinks Beyond The Sea is a movie about Bobby Darin isn't paying close enough attention.
    • 57 Metascore
    • 50 Noel Murray
    The main problem with The Promised Land is that Jhally and Ratzkoff are eager to foster dissent, but not to invite it into their own movie. Their talking heads sound rehearsed and repetitive, and the righteous anger dissipates without a contrary opinion to provide a ceiling.
    • 57 Metascore
    • 50 Noel Murray
    Assisted Living gets a little better as it wears on, and at least it's refreshingly short.
    • 45 Metascore
    • 50 Noel Murray
    Though the whole of Freak Weather is too forced and fitful, significant stretches of the movie hold together. McKenzie gives a magnetic performance.
    • 64 Metascore
    • 50 Noel Murray
    Though it's equally concerned with sensitive young criminals in squalid communities, Schizo is no "City Of God," for better and worse.
    • 48 Metascore
    • 50 Noel Murray
    In spite of good performances and colorful design, The Rider Named Death is too grave and remote to stir much emotion.
    • 44 Metascore
    • 50 Noel Murray
    The documentary is fair-minded but vague, and disturbing only when it describes the cat-killing in gruesome detail...Someone should take another crack at this story. Call it "The Art Of Killing Of A Movie."
    • 48 Metascore
    • 50 Noel Murray
    More speculative than deeply felt.
    • 72 Metascore
    • 50 Noel Murray
    Tell Them Who You Are is indulgent by design, and the elder Wexler may be right about his son's aesthetic failings.
    • 53 Metascore
    • 50 Noel Murray
    It's sweet, but way too silly.
    • 81 Metascore
    • 50 Noel Murray
    The World's dull weave of frustrated romances and worker exploitation is far too obvious, and Jia can only relieve the tedium so many times.
    • 60 Metascore
    • 50 Noel Murray
    Pachachi doesn't integrate her interviews into any kind of comprehensive portrait of recent Iraq history. They're bunched together randomly, like a collection of vignettes.
    • 67 Metascore
    • 50 Noel Murray
    Viewers will either be transported by Honkasalo's somber artistry or begging for someone to stick a gasoline-filled syringe into their veins...As art, 3 Rooms is magnificent, but as a viewing experience, it's almost impossible.
    • 60 Metascore
    • 50 Noel Murray
    Argo's job should only be a minor piece of this Gotham mosaic, but Jones makes the racketeering scenes so familiar that they grate against the rest of the movie.
    • 61 Metascore
    • 50 Noel Murray
    While Bitton engages in some penetrating conversations, and shoots some artful video footage, Wall never really tops its first scene.
    • 47 Metascore
    • 50 Noel Murray
    In the end, all these sexual shenanigans just provide an excuse to play some seductive music and drink in some seaside scenery. Ah, Europe.
    • 55 Metascore
    • 50 Noel Murray
    But compared to great documentaries about the process behind performance-"Last Dance" and "Original Cast Album: Company" spring to mind-Finding Eléazar is too choppy and fussy.
    • 78 Metascore
    • 50 Noel Murray
    The more overtly allegorical Innocence becomes, the duller it gets.
    • 72 Metascore
    • 50 Noel Murray
    Ends up being another one of those life-of-an-entertainer films that reduces an artist to his most embarrassing moments.

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