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 5.1 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 P.S. Your Cat Is Dead!
Score distribution:
1072 movie reviews
    • 82 Metascore
    • 60 Noel Murray
    This is a small film about a society of castoffs, and while it’s beautifully acted and often moving, it’s also predictable, because it keeps wresting itself into familiar forms.
    • 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.
    • 79 Metascore
    • 60 Noel Murray
    Simien is clearly a talented, witty writer, with a fantastic sense of character development and dialogue, but he makes a lot of rookie mistakes as a filmmaker, from trying to cover too much ground in one movie to making stylistic choices that render Dear White People visually incomprehensible.
    • 79 Metascore
    • 60 Noel Murray
    The main problem with Jodorowsky’s Dune is that a significant amount of what makes Jodorowsky’s work special gets lost in Pavich’s fairly ordinary approach to the documentary form.
    • 78 Metascore
    • 50 Noel Murray
    Wagner and company fail to follow Langella's primary rule of storytelling: "Follow the characters around until they do something interesting."
    • 78 Metascore
    • 60 Noel Murray
    A little slow for a crime story, and a little obvious with its anti-capitalism message.
    • 78 Metascore
    • 50 Noel Murray
    The more overtly allegorical Innocence becomes, the duller it gets.
    • 77 Metascore
    • 50 Noel Murray
    Foster and Harrelson always stick to the Army's orders about what to say and how to behave. After a while, The Messenger starts to feel equally dogged about following a pat script.
    • 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.
    • 76 Metascore
    • 60 Noel Murray
    Intimate Stories stays doggedly, purposefully minor, in part because director Carlos Sorin and screenwriter Pablo Solarz want to explore the casual interactions of people doing nothing.
    • 76 Metascore
    • 60 Noel Murray
    Someone as attuned as Varda to the quality of an image should know that a flat, disposable medium like video makes images harder to internalize.
    • 76 Metascore
    • 60 Noel Murray
    Even though Gondry and Chomsky’s very different sensibilities don’t mesh in such a way that either man’s work gains substantially from the alliance, they’re each such good company individually that Is The Man Who Is Tall Happy? is still entertaining.
    • 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.
    • 74 Metascore
    • 58 Noel Murray
    This aestheticizing of troubled lives proves problematic over the long haul.
    • 74 Metascore
    • 60 Noel Murray
    Taylor does her cause no real favors by trotting out only the most articulate, most clearly railroaded exonerees. It should be just as chilling to learn that even the shady get screwed.
    • 74 Metascore
    • 50 Noel Murray
    Once again with the Duplasses, there just isn't enough of anything: not enough funny lines, not enough variation of mood, not enough plot. If these guys were students, Cyrus might merit a "promising." But this is their third movie. It's time for them to stop turning in first drafts.
    • 74 Metascore
    • 60 Noel Murray
    In the end, it all gets to be too stifling. The film looks amazing, and there may be no better way to adapt Darger's work to the screen. But Yu's decision to limit the comments on Darger's enduring appeal keeps the audience locked in his cramped room too long, without a window of context.
    • 74 Metascore
    • 60 Noel Murray
    While La Sapienza is unsatisfying as drama, it’s frequently beautiful just as a tour through architecturally significant Italian buildings. And it’s intellectually engaging as an elaboration of their larger meaning.
    • 73 Metascore
    • 42 Noel Murray
    The sketchily symbolic characters and flat plot just frame an atmosphere of sticky heat and Biblical reckoning.
    • 73 Metascore
    • 50 Noel Murray
    Balseros doesn't fully measure up to Michael Apted's work because of the dingy quality of its video-to-film transfer, as well as flaws inherent to a project that started as one type of documentary and ended up as another--namely, that the filmmakers didn't ask enough of the right questions in the first two installments to make the third fully connect.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 72 Metascore
    • 60 Noel Murray
    7 Boxes is way too simple, but it mostly works, because every twist of the plot and turn of the street leads back to this one kid, who’ll do anything to make enough money to become someone other than himself.
    • 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.
    • 72 Metascore
    • 50 Noel Murray
    4
    In spite of a handful of striking images--4 never resolves into anything special.
    • 72 Metascore
    • 40 Noel Murray
    Weaver's overacting and Dorfman's bold-faced dialogue oversell the scenario. Only Kingsley's sly turn gives Death And The Maiden any real feeling of disquiet.
    • 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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