For 1,072 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 A Christmas Story
Lowest review score: 10 The Final Project
Score distribution:
1072 movie reviews
    • 78 Metascore
    • 50 Noel Murray
    The more overtly allegorical Innocence becomes, the duller it gets.
    • 61 Metascore
    • 50 Noel Murray
    Taking Sides is really no less simplistic than "Sunshine," but its predecessor succeeded because of its length and scope. Taking Sides stays rooted in one place and one discussion, and never gets anywhere.
    • 62 Metascore
    • 50 Noel Murray
    Nolte almost makes it work.
    • 35 Metascore
    • 50 Noel Murray
    Sports broad, sitcom-ish performances and a surprising amount of sweetness and wisdom.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 50 Noel Murray
    Though the movie's consistently watchable, it's rarely grabby, aside from a few strong jump-scares.
    • 53 Metascore
    • 50 Noel Murray
    If The Strange Color Of Your Body’s Tears were Cattet and Forzani’s debut film, this might all feel fresher, and more revelatory. But as visually stunning as any given five minutes of this movie is, it doesn’t add up to much cumulatively.
    • 54 Metascore
    • 50 Noel Murray
    Too much of Dear Mr. Watterson is taken up by Schroeder and an array of non-professional C&H-lovers offering vague praise, with little to no real analysis—aesthetic, historical, or cultural.
    • 64 Metascore
    • 50 Noel Murray
    At first, the movie is offbeat enough to be entertaining anyway; but like the title character, it quickly outstays its welcome.
    • 57 Metascore
    • 50 Noel Murray
    As with Rossi's acclaimed documentary "Page One: Inside the New York Times," "First Monday" covers too much ground.
    • 53 Metascore
    • 50 Noel Murray
    Just as the documentary doesn’t really have the goods when it comes to solving the photograph’s mysteries, it only skims across the surface of what the picture represents.
    • 55 Metascore
    • 50 Noel Murray
    The band is sincere, and many of its followers are just as sincere, but there's always a danger that too much "screaming" can turn a meaningful statement into an inarticulate din.
    • 49 Metascore
    • 50 Noel Murray
    While the players are circling and silently sizing each other up, the audience may find itself straining to look around them, to see the history they're blocking.
    • 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.
    • 34 Metascore
    • 50 Noel Murray
    The Ledge is a sometimes-fascinating, often-aggravating chamber thriller that works best when it's doubling as an inquiry into faith.
    • 69 Metascore
    • 50 Noel Murray
    There's been a proliferation of "globalization sucks" documentaries over the past couple of years, but few have been as blunt as Black Gold.
    • 61 Metascore
    • 50 Noel Murray
    For all its documentary-style urgency, Private often feels forced.
    • 63 Metascore
    • 50 Noel Murray
    The main problem with Him is that it takes the form of a generic indie dramedy about a hard-luck dude, desperate for a turnaround in his personal and professional life... Him does have a few scattered moments of Her-like insight and vitality, though.
    • 59 Metascore
    • 50 Noel Murray
    If nothing else, the shaggy romantic comedy Celeste And Jesse Forever establishes that Parks And Recreation's Rashida Jones is a movie star.
    • 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.
    • 55 Metascore
    • 50 Noel Murray
    Even for a fairly low-budget movie, Tusk doesn’t feel thought-through, or focused enough.
    • 55 Metascore
    • 50 Noel Murray
    This is the rare martial-arts film where the martial arts are tedious and the conversations more compelling.
    • 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.
    • 55 Metascore
    • 50 Noel Murray
    It's About You's sound is relatively clean and dynamic, but there's nothing remotely resembling a narrative here.
    • 58 Metascore
    • 50 Noel Murray
    Miike has served up some of the most dumbfounding images in contemporary cinema.
    • 60 Metascore
    • 50 Noel Murray
    The simplicity of Lone Survivor eventually becomes a handicap, because after a certain point, the film becomes just one long battle sequence, lacking narrative ebb and flow.
    • 69 Metascore
    • 50 Noel Murray
    Where before, Porterfield seemed to be recording life as it’s lived, here, he’s mostly recording plot. The difference is glaring.
    • 51 Metascore
    • 50 Noel Murray
    The major failing of Ana Maria In Novela Land is its unevenness. The comedy is never all that funny, and some scenes fall noticeably flat, either because the cast isn’t strong enough, or because the production as a whole lacks polish.

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