For 1,374 reviews, this critic has graded:
  • 53% higher than the average critic
  • 8% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Homicide
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
1374 movie reviews
    • 83 Metascore
    • 83 Noel Murray
    The Day He Arrives is a talky movie, full of long, boozy scenes and cosmic coincidences - and in that it echoes Allen, as well as Luis Buñuel, Jean-Luc Godard, Michelangelo Antonioni, and the best of British kitchen-sink drama.
    • 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.
    • 83 Metascore
    • 91 Noel Murray
    Like the best crime stories, this one isn't about how the bad guys live, it's about how WE live.
    • 83 Metascore
    • 70 Noel Murray
    If nothing else, this film makes the case that the Cold War—however Fetisov or Polsky respectively choose to define it—robbed American sports fans of the chance to watch and appreciate one of the greatest collections of athletes ever assembled.
    • 83 Metascore
    • 75 Noel Murray
    Trouble The Water is infuriating in its depiction of helpless Americans getting left behind, and uplifting in the way it shows the Roberts putting their lives together, but it's also frustrating, because it lacks some focus.
    • 83 Metascore
    • 91 Noel Murray
    So James White’s title character is an entitled, self-centered a--hole. But the movie about him is still a marvel: an honest, moving, and occasionally even funny portrait of what happens when a cripplingly immature young man gets hit with one reality check after another.
    • 82 Metascore
    • 83 Noel Murray
    O'Toole is frail and probably won't make many more movies. So Venus is pitched partly as a fond farewell to a beloved artist, and his whole beautiful generation.
    • 82 Metascore
    • 83 Noel Murray
    Copti and Shani show characters of different backgrounds interacting peacefully as individuals, then show how those characters subtly change when their affiliation with a group becomes an issue. And always the threat of violence looms.
    • 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.
    • 82 Metascore
    • 91 Noel Murray
    The result is one beautiful movie-and no less so for making a strong case that beauty is a lie.
    • 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.
    • 82 Metascore
    • 75 Noel Murray
    There's a kind of dry tastefulness about The Wind That Shakes The Barley's historical recreations, even when Loach is staging rapes and executions.
    • 82 Metascore
    • 83 Noel Murray
    Hunger may be criticized for being willfully arty, or for reducing a complex political situation to a broadly allegorical vision of martyrdom, but it's never less than visually stunning.
    • 82 Metascore
    • 91 Noel Murray
    Yet in his despair, there's something Kudlow misses, and it's what makes Anvil! as moving as it is hilarious.
    • 82 Metascore
    • 75 Noel Murray
    Make no mistake: The Trip is a fine, funny movie. But there's no reason why it couldn't have been even finer and funnier.
    • 82 Metascore
    • 83 Noel Murray
    Ultimately, this isn’t a film about goat balls at all, but the willingness of millions to believe that some slick-talking demagogue knows more about what’s good for them and their families than someone with actual qualifications.
    • 82 Metascore
    • 91 Noel Murray
    Though Certain Women is difficult, it’s hardly obtuse. And for those willing to trust that Reichardt is in full command of this material, “Certain Women” is utterly enthralling.
    • 82 Metascore
    • 70 Noel Murray
    The original musical holds up well, and Marshall and Condon’s adaption doesn’t wreck it.
    • 82 Metascore
    • 83 Noel Murray
    What's most valuable about Side By Side is how comprehensive it is in documenting how the art form changed.
    • 57 Metascore
    • 50 Noel Murray
    Assisted Living gets a little better as it wears on, and at least it's refreshingly short.
    • 82 Metascore
    • 83 Noel Murray
    Mysteries Of Lisbon is an odd kind of epic: It's digressive and even trifling at times, and though a large cast wanders through the frame, the individual scenes tend to be focused on just two or three people, having winding conversations about political intrigue and affairs of the heart.
    • 82 Metascore
    • 83 Noel Murray
    Berger also shows a dark wit and a faith in old-fashioned melodrama that puts Blancanieves more in the camp of Pedro Almodóvar than Guy Maddin’s golden-age pastiches. (And aside from being silent and a period piece, the movie has almost nothing in common with "The Artist.")
    • 82 Metascore
    • 83 Noel Murray
    Like a lot of folk tales, Ten Canoes peters out into something more prosaic than profound, but it flows like water, and has a deceptively gentle pull that proves hard to escape.
    • 82 Metascore
    • 75 Noel Murray
    Even at its most upbeat, The Maid is something of a tragedy.
    • 82 Metascore
    • 83 Noel Murray
    Arijon's choice to film the survivors returning to the Andes with their children pays huge dividends, leading to an ending that puts the real meaning of their ordeal in moving terms.
    • 81 Metascore
    • 83 Noel Murray
    Wajda makes the murders look horrific and jangled, like something out of "Hostel," then ends Katyn with extended darkness and silence, allowing the audience to mourn for the death of a nation.
    • 81 Metascore
    • 80 Noel Murray
    Director Bennett Miller and screenwriters E. Max Frye and Dan Futterman have thought through every scene and every line in Foxcatcher. Nothing is irrelevant. The film proceeds like a well-constructed argument.
    • 81 Metascore
    • 91 Noel Murray
    Timberlake himself is a stunner, whether he’s smoothly pirouetting his way through “Suit & Tie” or he’s choking back tears during his stirring set closer “Mirrors.” But his team is well-matched by Demme’s.
    • 81 Metascore
    • 80 Noel Murray
    Hepburn's blend of pluckiness and self-pity and Arkin's cool cunning give Wait Until Dark emotional weight, but their final tussle is what most fans of the film remember.
    • 81 Metascore
    • 83 Noel Murray
    The truths revealed in this film have more to do with the North Korean government’s self-consciousness about how they’re perceived by foreigners. Here, they seem desperate to appear productive, congenial, devoted, and above all, happy.

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