For 845 reviews, this critic has graded:
  • 52% higher than the average critic
  • 5% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 7.5 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
Average review score: 67
Highest review score: 100 The Child
Lowest review score: 10 P.S. Your Cat Is Dead!
Score distribution:
  1. Negative: 26 out of 845
845 movie reviews
    • 80 Metascore
    • 80 Noel Murray
    The value of Shake Hands With The Devil is in Dallaire's detailed recollections of what he observed: the anatomy of a mass murder.
    • 75 Metascore
    • 80 Noel Murray
    As tense and taut as any crime saga, but the stakes are more personal.
    • 87 Metascore
    • 80 Noel Murray
    Director Sidney Lumet (working from a screenplay by Waldo Salt and Norman Wexler) chooses not to press the superheroic aspect of his protagonist. Serpico is more street-level, tracing a decade of NYPD change--and refusal to change--through an episodic, often elliptical structure.
    • 80 Metascore
    • 80 Noel Murray
    The documentary was shot on film, and Moormann's snappy editing and subtly moving camera match the energy of the jump-blues and roots-rock that Dowd loved.
    • 81 Metascore
    • 80 Noel Murray
    The family's few lines of dialogue are so integral to advancing the story that they may well have been scripted, but it's not that important whether The Story Of The Weeping Camel is more fiction than objective ethnography. If anything, the contrast between what's real and what may have been faked only adds to the tension between the natural world and encroaching modernism.
    • 68 Metascore
    • 80 Noel Murray
    A sumptuously moody memory play.
    • 75 Metascore
    • 80 Noel Murray
    De Oliveira wraps A Talking Picture with a simultaneous introduction and farewell--a bold curtain-dropper that's either a bleak joke or an imprecisely controlled scream of rage.
    • 79 Metascore
    • 80 Noel Murray
    Though Wings Of Desire has a classic look, its mood and style is New Wave in every sense of the term. The synthesis of deep thought, leisurely pacing, and stunning visuals is in the spirit of work by the young European filmmakers of the '60s and '70s. (Reviewed in 2003 for DVD Release)
    • 72 Metascore
    • 80 Noel Murray
    JFK
    So is JFK a good movie? Actually, it’s a great movie that looks better with each passing year. Even aside from what it’s saying, and even with the many, many forced moments, JFK has a mad genius about it.
    • 77 Metascore
    • 80 Noel Murray
    While it’s corny by design, Hairspray also aims to get at something truthful, about the various kinds of prejudice weighing down the city circa 1963, and how youthful optimism and music made a difference, if only in the lives of those kids craving some kind of diverse, progressive community.
    • 69 Metascore
    • 80 Noel Murray
    There’s a fair amount of Hollywood magic in the way director James Frawley and Henson’s Muppeteers stick Kermit and friends into scenarios in which he’s riding a bike, rowing a boat, and walking in cowboy boots. But the less showy effects always defined the Muppets.
    • 70 Metascore
    • 80 Noel Murray
    Somehow, all of these scattered pieces of film and video fit together, as do the ideas they represent.
    • 65 Metascore
    • 80 Noel Murray
    Darkman is funny, but it’s no joke; it’s the work of a man who underlines the conventions of adventure stories and horror because he enjoys them, and knows that even when rendered tongue-in-cheek, they’re timeless.
    • 64 Metascore
    • 80 Noel Murray
    So far, Nymphomaniac looks like a major work from a major director: a compendium of all von Trier’s career-long preoccupations with gender roles, authoritarianism, religion, obsessive behavior, and lust.
    • 83 Metascore
    • 80 Noel Murray
    The Selfish Giant is a harsh movie, but it isn’t devoid of hope, because Barnard understands that everything has value—even if it can’t be realized until after an object’s been tossed out.
    • 86 Metascore
    • 80 Noel Murray
    While Drug War is ultimately more an exercise in craft than a movie with a lot on its mind, it’s a remarkably skillful exercise, and hardly devoid of ideas.
    • 76 Metascore
    • 80 Noel Murray
    Quietly, persuasively, Tokyo Waka asks whether cultures decline by pouring resources into propping up entities that can no longer support themselves.
    • 80 Metascore
    • 80 Noel Murray
    Il Futuro is a playful, soulful movie, affecting because it’s populated by lost children who can somehow sense they’re in a movie, and that in a movie, the only future is The End.
    • 70 Metascore
    • 80 Noel Murray
    What makes Informant so effective is that while its focus is on Darby, the story has a larger scope.
    • 60 Metascore
    • 80 Noel Murray
    With thoughtfulness and passion, von Trier strives to give his audience a high, accompanied by the meaning of the high.
    • 71 Metascore
    • 80 Noel Murray
    The tedium of The Raid 2’s setup is offset by some of the most jaw-dropping, bone-crunching, flesh-ripping setpieces ever filmed.
    • 63 Metascore
    • 80 Noel Murray
    The film is a poetic and lulling mediation on humanity as some kind of ancient alien race, which Reggio means to isolate and examine, as though he’s never encountered them before.
    • 76 Metascore
    • 80 Noel Murray
    Going strictly by plot description, Ritesh Batra’s The Lunchbox sounds a little like an Indian knock-off of a Nicholas Sparks movie, but it plays out more like Brief Encounter.
    • 79 Metascore
    • 75 Noel Murray
    Not even Douglas Sirk or Lars von Trier would heap so much abuse on a heroine. And yet, on its own melodramatic, tear-jerking terms, Precious works.
    • 89 Metascore
    • 75 Noel Murray
    von Donnersmarck gives his debut feature, The Lives Of Others, no particular style, and the absence of visual risk-taking renders an exciting premise ponderous and stolid.
    • 66 Metascore
    • 75 Noel Murray
    Davis and company do get at the odd mix of middle-class lifestyle and cheerful doom-saying that defines the mainstream apocalypticons.
    • 82 Metascore
    • 75 Noel Murray
    The story starts at a low boil and quickly heats up, but the problem with Tell No One--a common problem with contemporary pulp literature--is that at some point, all the narrative's intriguing questions resolve with prosaic answers, delivered in long, convoluted speeches by people wielding guns.
    • 81 Metascore
    • 75 Noel Murray
    In its overt attempts to balance high-spirited spy adventure with more realistic acting and actio--conveying the realities of government-sponsored murde--Casino Royale is a step in the right direction for the Bond franchise. But it's a small, tentative step.
    • 63 Metascore
    • 75 Noel Murray
    The movie is one of To's typically tangled meditations on the smearing of good and evil, in moments where instinct overcomes morality. And ultimately, To cares less about the motivations of opposing forces than about the spectacular collisions they produce.
    • 80 Metascore
    • 75 Noel Murray
    Has about a dozen layers of in-joke, and up to the eighth or ninth layer, they mostly work.