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
    • 91 Metascore
    • 91 Noel Murray
    Manchester by the Sea is the kind of movie that doesn’t seem to be headed anywhere in particular for long stretches. And then, almost unexpectedly, it arrives.
    • 76 Metascore
    • 91 Noel Murray
    Because the movie plays on so many common fears - including fears of being in a remote house with big windows when intruders arrive - the confusion of Martha Marcy May Marlene proves effective, not sloppy.
    • 77 Metascore
    • 91 Noel Murray
    By the time Feuerzeig gets to his final shot--an artful portrait of Johnston's parents, with their son looming over them like a curse--he's emerged with the most harrowing and aesthetically keen portrait of madness and artistic inspiration since "Crumb."
    • 98 Metascore
    • 91 Noel Murray
    After two hours of dazzlingly fantastical images and stomach-turning gore, del Toro winds around, and finds his story's center.
    • 80 Metascore
    • 91 Noel Murray
    I Wish is still amply Kore-eda-esque, full of life, heart, and funny little details about daily existence, as it meanders its way toward moments of real profundity.
    • 80 Metascore
    • 90 Noel Murray
    Movies can't exactly replicate the feeling of reading a book, but Jun Ichikawa's adaptation of Haruki Murakami's short story Tony Takitani comes remarkably close.
    • 75 Metascore
    • 90 Noel Murray
    Collectively, the mixed approaches illuminate a complicated man, at once spiritual and temperamental.
    • 80 Metascore
    • 90 Noel Murray
    Gets most of its legs from the acting and the dialogue, which has such a rhythmic grace that scenes from the movie can be played and replayed with no loss of thump.
    • 91 Metascore
    • 90 Noel Murray
    The film is best treated as a one-of-a-kind wonder: an ingenious contraption that dazzles, teases, attracts, and repels with all the mystery and sublimity of a miniature world.
    • 78 Metascore
    • 90 Noel Murray
    The extraordinary achievement of Under The Skin is that while Laura develops some human qualities, Glazer resists the temptation to turn this alien’s story into the story of what it means to be human.
    • 88 Metascore
    • 90 Noel Murray
    The digressiveness of Y Tu Mamá También is its masterstroke.
    • 85 Metascore
    • 90 Noel Murray
    The sociological angle of Festival Express is a narrow one--perhaps too narrow--and doesn't overwhelm the film's real selling point, which is some of the best-looking and best-sounding footage of counterculture icons ever screened.
    • 86 Metascore
    • 90 Noel Murray
    Part period piece and part coming-of-age story, King Of The Hill balances an incident-packed script with muted tones, painting a rich, absorbing picture of one boy’s struggle to live by his wits.
    • 100 Metascore
    • 90 Noel Murray
    If the movie is about any one idea in particular, it’s about how parents do their best to stay on top of how their children grow, by taking pictures and documenting the memorable occasions, only to learn too late that most of life happens between the posing.
    • 89 Metascore
    • 90 Noel Murray
    The Act Of Killing raises all kinds of provocative questions about the sins of nations in transition, and about how important it is for those in power to control the narrative.
    • 75 Metascore
    • 83 Noel Murray
    Patience reveals through images and tone as well as through the interviews how Sebald yearned for restorative meaning in the places he toured, only to end up lost in thought.
    • 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.
    • 72 Metascore
    • 83 Noel Murray
    deWitt's script is much better than anything Jacobs has worked on before, with a story that gets richer as it goes.
    • 72 Metascore
    • 83 Noel Murray
    Anyone could make a film about a theater full of naked women; only Wiseman would take equal interest in the person who handles the ticket-ordering, and the one who makes sure there's a bottle of champagne on every table.
    • 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.
    • 75 Metascore
    • 83 Noel Murray
    Crude is so crammed with facts and figures that it can be a little dizzying, but what’s more important is what Berlinger records between all the talking-head interviews and vérité footage.
    • 73 Metascore
    • 83 Noel Murray
    If nothing else, Ti West’s retro “Satan rules!” thriller The House Of The Devil gets the look and tone of early-’80s horror schlock exactly right.
    • 82 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.
    • 64 Metascore
    • 83 Noel Murray
    All told, Ellison is a fascinating person to spend 96 minutes with. But you probably shouldn't risk that 97th.
    • 74 Metascore
    • 83 Noel Murray
    Welcome To Pine Hill is a short, docu-realistic film, with very little plot and scenes that play like loose improvisations. Miller is mainly interested in the various spaces Harper inhabits, and how he inhabits them.
    • 74 Metascore
    • 83 Noel Murray
    Prodigal Sons comes packed with multiple hooks. Aside from the sex-change angle, the movie takes a turn when Marc---whom Reed’s parents adopted before she was born--learns that he’s the biological son of Rebecca Welles, and the grandchild of Orson Welles and Rita Hayworth.

Top Trailers