For 1,274 reviews, this critic has graded:
  • 53% higher than the average critic
  • 7% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 2.8 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Under the Shadow
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
1274 movie reviews
    • 73 Metascore
    • 70 Noel Murray
    While far from perfect, I Believe In Unicorns is unusually attuned to how it feels for a teenager to have her first intense, quasi-mature relationship, and how it feels for her to use that love affair as an escape from some serious problems at home.
    • 67 Metascore
    • 70 Noel Murray
    The Wrecking Crew is a provocative look back at an art form in transition, reflecting on the moment when it started to matter whether Mickey Dolenz was actually playing drums on The Monkees’ albums, and the moment when, according to Dolenz, people started to “take the rock ’n’ roll very seriously.”
    • 79 Metascore
    • 70 Noel Murray
    The film is also valuable for raising awareness about Leth, whose work hasn't been as widely recognized as that of his European contemporaries, but who now makes an impressive case for his skills, five times over.
    • 65 Metascore
    • 70 Noel Murray
    Lively, impassioned, well-structured documentary.
    • 64 Metascore
    • 70 Noel Murray
    The overall tone is more tongue-in-cheek than terrifying. Though some of the directors involved — like Lucky McKee ("May") and Neil Marshall ("The Descent") — have a hard horror pedigree, the emphasis here is on slickness.
    • 75 Metascore
    • 70 Noel Murray
    The Great Flood works as a wordless narrative of human endurance, showing communities gathering to stack sandbags, then gathering again to dig out of the muck after their previous efforts failed.
    • 72 Metascore
    • 70 Noel Murray
    For a film so slight, Doomsdays makes a strong impression.
    • 58 Metascore
    • 70 Noel Murray
    Beneath the affectations, there’s poetry in Kid-Thing, and truth in its depiction of how absolute freedom can be a kind of trap.
    • 80 Metascore
    • 70 Noel Murray
    While Fanon wrote with intense anger, he made his case more on an intellectual level than an emotional one, seeking to use his enemies’ words and logic against them. Olsson prefers to swing wildly.
    • 72 Metascore
    • 70 Noel Murray
    Just when the seemingly endless scenes of Johansson's nagging threaten to sink Match Point for good, the movie becomes the thriller that early reports promised.
    • tbd Metascore
    • 70 Noel Murray
    While a film like Serial Killer 1 may disappoint anyone expecting “Bullitt” or “Lethal Weapon,” its focus on legwork and motivation could well appeal to fans of “Law & Order” — the TV show and the social construct.
    • 55 Metascore
    • 70 Noel Murray
    Plenty of first-time feature filmmakers have combined grubby genre kicks with more personal concerns; but there’s a confidence and energy to “Stray Bullets” that compensates for the rather rudimentary, over-familiar story.
    • 42 Metascore
    • 70 Noel Murray
    Refreshingly dark and sick, this is a movie for those who like cinematic monsters that hit so hard they leave a mark.
    • 48 Metascore
    • 67 Noel Murray
    It's best enjoyed as a crackling performance piece.
    • 71 Metascore
    • 67 Noel Murray
    The movie comes to life whenever Hamed Behdad appears.
    • 52 Metascore
    • 67 Noel Murray
    Contrivances aside, though, Janie Jones is one of the more realistic depictions of what the rock 'n' roll lifestyle is really like.
    • 62 Metascore
    • 67 Noel Murray
    Girls Rock! is cutesy and quick-cut, emphasizing the absurd while trying to keep the audience's interest with animated interludes and footage from corny old industrial films.
    • 64 Metascore
    • 67 Noel Murray
    There's something uniquely pleasurable about watching a director in total command of his craft, even when that craft is in service of a scattershot melodrama with pale intimations of social relevance.
    • 59 Metascore
    • 67 Noel Murray
    No Restraint misses a lot of opportunities, like the chance to contrast Barney's work with artists working on a lower budget, or to examine his positive and negative influence on modern art, or to break down an economic model based on selling off the pieces Barney discards along the way.
    • 57 Metascore
    • 67 Noel Murray
    Some kind of wonderment.
    • 85 Metascore
    • 67 Noel Murray
    The contrast of a warm maternal figure and a remote army outpost is undeniably affecting. But when Vishnevskaya opens her mouth, she spoils the mood.
    • 49 Metascore
    • 67 Noel Murray
    It's just too bad that Legend Of The Fist breaks up that action with long scenes of well-dressed men and women sitting around in nightclubs, talking politics.
    • 74 Metascore
    • 67 Noel Murray
    This story--or stories like it--has been told and re-told too often. Lemon Tree works best when Riklis cuts out the predictable melodrama and trusts the fertility of his central metaphor.
    • 65 Metascore
    • 67 Noel Murray
    The Wild Blue Yonder has a small message to deliver about the importance of ecological conservation, but mostly, it's an excuse to cut together mesmerizing undersea and outer-space photography while a hypnotic soundtrack drones on.
    • 55 Metascore
    • 67 Noel Murray
    Hardcore Disney fans will appreciate how serious-minded and intimate this movie is, but for others, Walt & El Grupo might feel like an expensive vacation slide show, assembled by strangers.
    • 66 Metascore
    • 67 Noel Murray
    When the crazy comes, it's pretty good crazy. Ferrell is in full-on brazen redneck mode, doing a variation on his "Saturday Night Live" George W. Bush impression.
    • 64 Metascore
    • 67 Noel Murray
    It all begins to feel tawdry, especially since Paul H-O never seems to realize that even though he wants everyone to know who he is, he’s never given a good reason why we should.
    • 63 Metascore
    • 67 Noel Murray
    Keyhole's flashes of actual B-movie coherence are enough to make longtime Maddin-watchers wonder if he could've played this material straighter, with more of a plot and fewer reveries.
    • 63 Metascore
    • 67 Noel Murray
    Whatever The Blood Of My Brother's journalistic weaknesses, it's valuable as yet another view of what may end up being the most thoroughly documented war ever waged.
    • 57 Metascore
    • 67 Noel Murray
    Though it's a well-worn story, Candy does touch on a universal anxiety. For two people basking in the heat of an all-consuming love, what happens when the power gets cut off?
    • 56 Metascore
    • 67 Noel Murray
    Stella Days' strongest asset is Sheen.
    • 84 Metascore
    • 67 Noel Murray
    Séraphine is far more powerful when it lingers on Louis at work.
    • 60 Metascore
    • 67 Noel Murray
    In many ways, Fugitive Pieces is a beautiful film. But it's a bit TOO beautiful.
    • 68 Metascore
    • 67 Noel Murray
    From Valentino Garavani's imperious carriage and diva fits to his coterie of tiny dogs, the subject of Tyrnauer's doc comes off like a fictional character, scripted by a writer with a weakness for cliché.
    • 58 Metascore
    • 67 Noel Murray
    Yes, the idea that the tree/father is literally tearing this family apart is way too blunt, but Gainsbourg and Davies sell it by playing the scenes naturally, with minimal histrionics.
    • 64 Metascore
    • 67 Noel Murray
    If nothing else, Leth shows how wrung-out and careless everyone gets amid constant bloodshed. "We don't need peace," one says. "We need school for our kids. Food. Sleep."
    • 66 Metascore
    • 67 Noel Murray
    Between their bickering, Grønkjær's offscreen prompting, and the sappy, ubiquitous soundtrack, The Monastery is like the opposite of "Into Great Silence."
    • 84 Metascore
    • 67 Noel Murray
    Hammer has a nice eye, and his premise develops engagingly in the final half hour, as he raises provocative questions about whether one man can truly step in for another.
    • 76 Metascore
    • 67 Noel Murray
    Is this the stuff of gripping drama? Not at all. But like nearly all of Kiarostami’s films, it’s the stuff of good conversation.
    • 42 Metascore
    • 67 Noel Murray
    There are certainly worse ways to spend the holiday season than in the company of two charming old actors, being reminded that human companionship makes life worth living, even as it makes dying a little tougher.
    • 74 Metascore
    • 67 Noel Murray
    As a political thriller, Christian Carion's Farewell is fairly feeble, rendering some of the oldest clichés of Cold War potboilers without much urgency or stylistic flair.
    • 58 Metascore
    • 67 Noel Murray
    The film doesn’t always work as a genre exercise, but it’s a winner as a character study, in large part because of how committed Hagan is to playing Janie’s derangement. Casting directors in search of the offbeat should take note.
    • 49 Metascore
    • 67 Noel Murray
    This Wilson is sweet and pleasant and occasionally riotously funny. But it’s still the simplified version of a much more complicated work of art.
    • 58 Metascore
    • 67 Noel Murray
    Marston and Sheppard have come up with a terrific premise, and have worked it into an often highly entertaining movie. But after a while, all the narrative ellipses and question marks start to feel like an affectation — beguiling on the surface, but un-genuine.
    • 61 Metascore
    • 67 Noel Murray
    Buffalo Girls' main problem is that Kellstein can't seem to settle on whether he's making an inspirational sports movie (complete with triumphant music on the soundtrack during the fights), or an exposé of child exploitation among the Thai underclass.
    • 42 Metascore
    • 67 Noel Murray
    This new Bel Ami has a lot to recommend it, but it never seems as artful or smart as "Dangerous Liaisons," the film it most resembles.
    • 54 Metascore
    • 67 Noel Murray
    The movie builds goodwill doggedly, and then pays it all off with a farcical finale with a rousing message: We're all Aborigines! Who knew?
    • 61 Metascore
    • 67 Noel Murray
    The insights into girlhood in the opening are coming from the viewpoint of adults, while in a story this strange-but-true, it'd be more helpful to see these kids as they see themselves.
    • 70 Metascore
    • 67 Noel Murray
    The very definition of "breezy." It's a featherweight romantic comedy.
    • 78 Metascore
    • 67 Noel Murray
    It's hardly a rosy picture of what it's like to be gay and 60 in Paris. But it's an engrossing picture.
    • 72 Metascore
    • 67 Noel Murray
    The footage in Paul Williams Still Alive - old and new - is highly entertaining, even moving. But it's as though Kessler recorded the DVD commentary track first, then made the movie.
    • 53 Metascore
    • 67 Noel Murray
    The movie is caught between the poignancy of the everyday and the exaggerations of fiction.
    • 66 Metascore
    • 67 Noel Murray
    In digging deeper into the stories behind the junk--many of which involve the drug problems, legal problems, custody battles, cycles of abuse, and post-traumatic stress disorders of Mosher’s own family--October Country veers awfully close to exploitation.
    • 79 Metascore
    • 67 Noel Murray
    The movie captures the way scientists sometimes make breakthroughs simply by attempting the impossible.
    • 42 Metascore
    • 67 Noel Murray
    Deepens as it plays out, and rewards viewers who stick with it through the clumsier passages. The film is moving and thought-provoking.
    • 50 Metascore
    • 67 Noel Murray
    Unlike the elliptical, often explanation-free "The Grudge," Marebito is wordy to the extreme. Konaka's near-constant narration underlines every point the movie is trying to make, ruminating bluntly on the meaning of fear, and how we suck on media violence like, yep, vampires.
    • 55 Metascore
    • 67 Noel Murray
    As fascinating as Glass often is, it's simultaneously too conventional and not conventional enough.
    • 74 Metascore
    • 67 Noel Murray
    The Last King Of Scotland makes a stronger case when it's demonstrating how opulent power-lunches corrupt absolutely.
    • 27 Metascore
    • 67 Noel Murray
    The Heart Is Deceitful has a daring that's hard to dismiss, even when it only amounts to Argento shamelessly getting off on human rot.
    • 52 Metascore
    • 67 Noel Murray
    This “emotionally immature braniac” character is funny and heartbreaking in equal measure. Carrie Pilby is special. “Carrie Pilby” is less so.
    • 54 Metascore
    • 67 Noel Murray
    This is a movie about people trying to squeeze maximum recognition and pride out of the one thing they do reasonably well, and much of Blackballed's comedy comes from their attempts to maintain their dignity when they fail.
    • 78 Metascore
    • 67 Noel Murray
    Live-In Maid's premise would be ideal for a play, or a bravura performance piece like Rainer Werner Fassbinder's "The Bitter Tears Of Petra Von Kant."
    • 69 Metascore
    • 67 Noel Murray
    When the best part of the movie is when no one's talking and the anguish relents, it says something. It says that Iñárritu is a great director in need of a screenwriter who has more than one card to play.
    • 62 Metascore
    • 67 Noel Murray
    A tough-minded story about how to define self-worth.
    • 55 Metascore
    • 67 Noel Murray
    There isn't much to Union Square, but the movie does understand how people want to love their families on their own terms, forgetting that their families may be the only ones who really know who they are.
    • 77 Metascore
    • 67 Noel Murray
    Trapped is hit-and-miss as a piece of filmmaking but effective as an argument, contending not only that some Americans’ rights are being systematically taken away, but that when only a handful of organizations stand up for those rights, they become a bigger target.
    • 69 Metascore
    • 67 Noel Murray
    The movie can be affecting at times, and might’ve been even more so if Potter hadn’t made its theme so explicit, via heavy “this is the point” speeches delivered during what’s otherwise a powerful climax.
    • 54 Metascore
    • 67 Noel Murray
    This is a movie about a “New Earth Army” full of misfit soldiers yearning for a chance to be non-conformists with a cause, which means it’s already two-thirds of the way to being awesome. Had Heslov eased back a bit, Goats might’ve made it the rest of the way.
    • 84 Metascore
    • 67 Noel Murray
    The Cove's ultimate message gets muddled, especially since Psihoyos limits all counter-arguments to a few inarticulate or thuggish boobs.
    • 63 Metascore
    • 67 Noel Murray
    Even though Macaulay Culkin's alternately muggy and inexpressive lead performance hasn't worn well, the supporting turns by Catherine O'Hara and John Candy are especially crackerjack, as is John Williams' buoyantly cartoony score.
    • 59 Metascore
    • 67 Noel Murray
    Viewers will have to decide for themselves whether My Son is a terrible, terrible movie or an uncompromising Herzog experiment in reality-bending. Here’s a suggestion: consider the track record.
    • 69 Metascore
    • 67 Noel Murray
    We Live In Public doesn’t show that Harris was a genius so much as that he was a mentally and emotionally unstable egotist, trying to force a revolution in self-broadcasting and connectivity that later happened more naturally.
    • tbd Metascore
    • 67 Noel Murray
    Fitzgibbon and McCarten have succeeded in integrating cancer into a slick teen love story, but in the process, they've robbed it of some of its necessary pain.
    • 58 Metascore
    • 67 Noel Murray
    The movie is surprisingly smart about the politics of the glass ceiling, which keeps Tomlin in a pink-collar supervisor position while every man she trains gets promoted past her. The way Coleman asserts his masculinity with phrases like "cut the balls off the competition," and the way our heroic trio works together to sculpt a worker's paradise—complete with flex-time and day-care facilities—serves as an effective summary of the era's hot-button issues.
    • 83 Metascore
    • 67 Noel Murray
    It's also representative of Pina's major flaw: the inability of artists to get out of their own way.
    • 60 Metascore
    • 67 Noel Murray
    Unassuming and sweet-natured, and Garlin earns a lot of goodwill with his off-the-cuff wisecracks.
    • 72 Metascore
    • 67 Noel Murray
    This is a fascinating, underreported piece of recent world history, but Patty Kim and Chris Sheridan's documentary Abduction: The Megumi Yokota Story doesn't do it full justice.
    • 56 Metascore
    • 67 Noel Murray
    Hoffman makes impressive use of his low budget, thanks to a talented cast, an atmospheric soundtrack by Yo La Tengo, and the general feeling of confidence that a veteran director can bring to a project. But too much of Game 6 is designed to seem deeper than it really is.
    • 69 Metascore
    • 67 Noel Murray
    The main reason to see The Armor Of Light is to spend more time with Schenck, and to get a sense of how deeply he’s thought about all of this.
    • 72 Metascore
    • 67 Noel Murray
    The first half hour shows a dynamic politician who gets things done; the last hour shows him ground to dust by diplomats.
    • 49 Metascore
    • 67 Noel Murray
    If he’d pulled back more, Gondry might’ve seen the real story here: how maternal figures often look better to people who don’t actually have them for a mother.
    • 55 Metascore
    • 67 Noel Murray
    When the two Krays are in the same room, circling each other with a mix of fraternal affection and deep loathing, Legend is as heady and unforgettable as it means to be. The rest of the time, it’s a movie with a lot of good points, but no connecting line.
    • 59 Metascore
    • 67 Noel Murray
    Thompson's cast is too large for her to make the best use of her ingenious story-structure.
    • 79 Metascore
    • 67 Noel Murray
    Much like the recent "remember when" documentary "Man On Wire," Harvard Beats Yale 29-29 builds strong momentum in its home stretch, and sends the audience out on a high.
    • 89 Metascore
    • 67 Noel Murray
    It's a story worth telling, yes--but after 90 minutes, it's hard not to wonder if the storyteller can talk about anything else.
    • 63 Metascore
    • 67 Noel Murray
    Gregory’s wife, Cindy Kleine, is a skilled filmmaker, but she’s no Louis Malle, and her documentary Andre Gregory: Before And After Dinner is nowhere near as elegant as "My Dinner With Andre" or "Vanya On 42nd Street." Mainly, the movie lacks focus.
    • 66 Metascore
    • 67 Noel Murray
    What saves the movie is Solondz’s sensibility, which is still one-of-a-kind.
    • 60 Metascore
    • 67 Noel Murray
    Blind Mountain would be better-served by more touches of universality, as in the scene where a neighbor woman comforts Huang by saying, "All women go through this." That scene flirts with metaphor. The rest of the film too often descends into harangue.
    • 78 Metascore
    • 67 Noel Murray
    With its soapy earnestness and use of suffering souls as set dressing, After The Wedding could be the cinematic equivalent of a Coldplay song. And while that isn't necessarily a slam, it isn't a recommendation either.
    • 60 Metascore
    • 67 Noel Murray
    The result is a film that's long and choppy, with little narrative momentum. And yet at times, Mr. Nice is frustratingly close to brilliant.
    • 72 Metascore
    • 67 Noel Murray
    Pretty to look at, making good use of the scenery in and around Turin; if nothing else, the runaway plot keeps the movie unpredictable.
    • 55 Metascore
    • 67 Noel Murray
    Payback attempts something impressively difficult, but it succeeds primarily in its individual moments.
    • 69 Metascore
    • 67 Noel Murray
    Beyond treating this story like a potboiler, Deraspe does her best to make A Gay Girl In Damascus cinematic. She alternates nicely framed and photographed interviews with some fairly expressive dramatic reenactments. Some of these are pretty powerful.
    • 58 Metascore
    • 67 Noel Murray
    If nothing else, Life In A Day serves as a fine time capsule, recording some of what life was like on Earth in 2010.
    • 76 Metascore
    • 67 Noel Murray
    While the game Chevalier keeps evolving into something darker, the movie Chevalier is fairly static. The style’s unchanging throughout, holding to a slow pace and a muted sense of humor.
    • 73 Metascore
    • 67 Noel Murray
    As long as Arnold can avoid giving any reason for Dickie's strange behavior, Red Road remains creepy and hypnotic, but as soon as Arnold explains what's going on, the movie's structure collapses into the rubble of cliché.
    • 75 Metascore
    • 67 Noel Murray
    Anjelica Huston's directorial debut employs an impressive cast, and at times showcases a promising sense of style. But Bastard Out Of Carolina seems hollow at its center, due largely to the fact that Anne Meredith's screenplay doesn't make very good use of its source material.
    • 79 Metascore
    • 67 Noel Murray
    What's left off the table is a meaningful examination of environmental artists' responsibility to the environment they depict, and the question of whether all truly great art leaves behind a little toxic waste of its own.
    • 44 Metascore
    • 67 Noel Murray
    Anyone who doesn't already know and care a little about these characters might find the movie a bit thin.
    • 86 Metascore
    • 67 Noel Murray
    The non-sensationalized "this is what really happens" approach makes Our Daily Bread extra-creepy at times.
    • 66 Metascore
    • 67 Noel Murray
    While Family Law is well-shot, it's not spectacularly well-shot, or involving in any conventional cinematic way.
    • 62 Metascore
    • 67 Noel Murray
    The rest of Emelie doesn’t live up to its peaks, through no fault of star Sarah Bolger, who makes a memorable villain.
    • 45 Metascore
    • 67 Noel Murray
    HappyThankYouMorePlease has a different vibe than "Garden State" or "HIMYM." It's more like a late-'80s/early-'90s Woody Allen film, after Allen stopped separating his comedy and drama.
    • 64 Metascore
    • 67 Noel Murray
    The differences between Goat and a Very Special Episode of some Disney Channel sitcom are, at times, limited to the amount of on-screen puking. That said, Neel, Roberts, and Green do have a good feel for the vagaries of bro culture’s macho codes.
    • 66 Metascore
    • 67 Noel Murray
    Unlike “Obvious Child,” Landline plays like a series of semi-successful comic and dramatic scenes, haphazardly arranged into something resembling a story.
    • 64 Metascore
    • 67 Noel Murray
    The movie does have a charm that develops gradually.
    • 68 Metascore
    • 67 Noel Murray
    Though Theater Of War is informative--both about Brecht and about the effort it takes to mount a big New York production--Walter overreaches in trying to connect Brecht’s anti-war sentiment with contemporary protest movements, and doesn't do more than dabble with the themes of truth and representation in documentary filmmaking.
    • 68 Metascore
    • 67 Noel Murray
    Skarsgård brings some redemptive soul to the role of a man who gradually begins to understand the aptness of his favorite Pretenders album: "Learning To Crawl."
    • 66 Metascore
    • 67 Noel Murray
    Any 15-minute stretch of Double Take proves as enlightening as any other--more like a museum installation than a movie.
    • 56 Metascore
    • 67 Noel Murray
    The Extra Man is kooky to a fault, and Dano is a major drag, with his soft voice and blank expression. But Kline gives a wild, wonderful performance, reminiscent of his work on "A Fish Called Wanda."
    • 62 Metascore
    • 67 Noel Murray
    Late in the film, Stone interviews Norman Mailer, a one-time conspiracy-believer who eventually wrote a book that tried to get inside Oswald's head, explaining how Oswald's story is America's story. In less than a minute, Mailer describes the documentary Stone should've made.
    • 66 Metascore
    • 67 Noel Murray
    Because Paris, Je T'Aime's episodes are so short, the duds don't stick around long enough to grate much. But the good ones also don't get to explore their assigned Parisian spaces as much as they could.
    • 62 Metascore
    • 67 Noel Murray
    California Solo doesn't have much story. All of the details above are established in the first five minutes, then the movie becomes a character sketch, carried by its wealth of detail and a fantastic Carlyle performance.
    • 48 Metascore
    • 67 Noel Murray
    Yonkers Joe is largely concerned with the delicate balance between a crook's business life and his personal life--a balance the movie itself has trouble managing effectively.
    • 53 Metascore
    • 67 Noel Murray
    It’s hard not to feel that there’s something missing from Don’t Stop Believin’, though. The movie doesn’t necessarily need to be dark, but Diaz barely touches on the downside of the Internet age — such as the nasty messages Pineda received from racist Journey fans — or how it feels to sing someone else’s words in someone else’s voice, night after night.
    • 64 Metascore
    • 67 Noel Murray
    Even when Midnight Kiss is sputtering, viewers can tune the dialogue out and just watch the scenery in one of the most "there"-y L.A. movies ever made.
    • 72 Metascore
    • 67 Noel Murray
    12
    Rarely has the voyeuristic appeal of sitting on a jury been so cleverly expressed.
    • 58 Metascore
    • 67 Noel Murray
    The movie doesn't add much to the culture wars, beyond histrionics from a lot of people who take their causes too f*cking seriously.
    • 69 Metascore
    • 67 Noel Murray
    Enjoyably moody in the early going, and it develops into a decent Hitchcockian thriller at times.
    • 57 Metascore
    • 67 Noel Murray
    Emily Browning gives a game performance as the unconscious sex object, but Leigh doesn't provide her with a lot to work with in terms of motivation, dimension, or any kind of rich interior life.
    • 35 Metascore
    • 67 Noel Murray
    Happy Tears is a complete mess of a movie, but Lichtenstein conjures some sweet moments and striking metaphors.
    • 53 Metascore
    • 67 Noel Murray
    Affleck is the perfect actor for this role, though he’s a little too mush-mouthed to do the voiceover narration required of a noir.
    • 67 Metascore
    • 67 Noel Murray
    The Ides Of March goes down easily, with a sophisticated bustle and a strong third act twist to test the hero's mettle. But it all feels a bit inconsequential - perhaps by design.
    • 68 Metascore
    • 67 Noel Murray
    Offers four fairly interesting monologues, undercut by ominous music, stylistic frippery, and a structure that all but guarantees the audience will be able to predict where the stories will go.
    • 70 Metascore
    • 67 Noel Murray
    Love Songs is definitely daring, but too much of it seems calculated to lead up to a final line about how to guard against grief.
    • 63 Metascore
    • 67 Noel Murray
    It's almost condescending, as though Soderbergh were challenging himself to make Middle America interesting. And yet the movie IS interesting, almost in spite of itself.
    • 59 Metascore
    • 67 Noel Murray
    So Spider-Man 3's action is superb and its theme fairly weighty. Then why does it feel a letdown from its predecessor? Nearly all the blame rests with director Sam Raimi, who's taken the success of some light slapstick moments in Spider-Man 2 as a cue to get even sillier.
    • 66 Metascore
    • 67 Noel Murray
    The sense of enervation that creeps into the movie's second half is bothersome mainly because The Snowtown Murders is often brilliant in its depiction of the mundanity of evil.
    • 67 Metascore
    • 67 Noel Murray
    The problem with Kawasaki's Rose is that the theme is far more compelling than the movie.
    • 44 Metascore
    • 67 Noel Murray
    Raises the question of whether Krasinski made this movie because he really loves Wallace’s work, or because just he wanted to show Hollywood that the loveable doof from The Office can actually act.
    • 48 Metascore
    • 67 Noel Murray
    Like a lot of the retro-horror films that have popped up on the art-house and festival circuits over the past several years, Xan Cassavetes’ Kiss Of The Damned is more about mood and texture than plot.
    • 83 Metascore
    • 67 Noel Murray
    Frequently funny, for those who can stomach it.
    • 81 Metascore
    • 67 Noel Murray
    In that way, Jarvis is a lot like Arnold: an artist who knows the steps, but doesn't yet have all the moves.
    • 62 Metascore
    • 67 Noel Murray
    There's something a little shallow about contrasting ungrateful German kids with their respectful Japanese counterparts and presuming the cultural differences are so cut-and-dried.
    • 58 Metascore
    • 67 Noel Murray
    There are very few light, casual moments in The Look; even when Rampling pops into a deli to buy a sandwich, we hear her in voiceover talking about her demons. An hour and a half of this is frankly exhausting.
    • 67 Metascore
    • 67 Noel Murray
    Jellyfish is the kind of film that will ring true for some viewers, while striking others as too slight and precious.
    • 62 Metascore
    • 67 Noel Murray
    True Legend's heart is in the right place. It's just the body that's weary.
    • 61 Metascore
    • 67 Noel Murray
    Conceptually, Lust, Caution has been thoroughly thought-through, down to every lipstick stain Wei leaves on her teacups.
    • 72 Metascore
    • 67 Noel Murray
    Tiny Furniture offers a 21st-century, East Coast spin on "The Graduate," but with comedy-writer-ish dialogue and a mannered style that never fully gels.
    • 56 Metascore
    • 67 Noel Murray
    Ayer gets lost in a maze of ironies, and has to bulldoze his way to an exit. For a while, Harsh Times is thrillingly hard to predict. By the end, it becomes all too easy.
    • 54 Metascore
    • 67 Noel Murray
    A short running time and an amiable tone kept Uncle Kent from ever becoming a chore, but aside from one hilariously awkward ménage à trois scene and a poignant final shot, the film was so slight that it almost dared the audience to get anything out of watching.
    • 67 Metascore
    • 67 Noel Murray
    Neither pro- nor anti-war; it’s a somber study of perpetually unsettled lives.
    • 63 Metascore
    • 67 Noel Murray
    Gareth Edwards' low-budget science-fiction film Monsters is both a testament to what the latest technologies allow filmmakers to do, and-on the downside-a testament to the enduring importance of a good script.
    • 53 Metascore
    • 67 Noel Murray
    As is the norm for Ritchie, Rocknrolla is also too long, too coolly violent, and too populated by characters who all talk like they've been reading the same pulp novelist.
    • 56 Metascore
    • 67 Noel Murray
    Battle In Heaven is like a serious of artful photographs, except that Reygadas also moves the camera in astonishing and unusual ways, swooping around the conventional x- and y-axes while teasing the audience with what he's about to show. He's got an astonishing technique. Here's hoping that someday he'll use it to make a movie.
    • 39 Metascore
    • 67 Noel Murray
    The Wraith’s plot is predictable and its genre nods skimpy (primarily limited to The Mystery Racer’s ability to resurrect himself after crashes), but Marvin directs with real energy and wit.
    • 62 Metascore
    • 67 Noel Murray
    Disturbing The Universe doesn’t mix it up enough.
    • 78 Metascore
    • 67 Noel Murray
    The story of Control's creation is the story of great potential, squandered. Joy Division fans should be able to relate.
    • 56 Metascore
    • 60 Noel Murray
    Philibert allows even those who’ve never heard a second of Radio France to experience what the network is like, on both sides of the speakers.
    • 52 Metascore
    • 60 Noel Murray
    Though its milieu is often ugly and its story fairly soft, You'll Get Over It gets by thanks to its cast. The French film industry has a knack for finding attractive, expressive young actors, and this movie is no exception.
    • 60 Metascore
    • 60 Noel Murray
    Jacobs focuses almost exclusively on Dobson's theories and mission, which he illustrates by contrasting jaw-dropping images of the sun's surface with people ignoring Dobson's entreaties to "Come look at the sun."
    • 61 Metascore
    • 60 Noel Murray
    Even at its goofiest, Through The Never brings back the communal appeal of those early concert films, which were often just a way for young fans to bond with other young fans over the music of entertainers who seemed to understand what they really wanted.
    • 72 Metascore
    • 60 Noel Murray
    Dormant Beauty always comes back to the difficult decisions that family members have to make for each other, contrasted with the huffiness of outsiders who try to project their own beliefs onto someone else’s business.
    • 66 Metascore
    • 60 Noel Murray
    The Take tells a compelling story of courageous, industrious people, but it begs for a second act.
    • 45 Metascore
    • 60 Noel Murray
    The sensual sex scenes and raw violence of God's Sandbox make it pretty much an exploitation film, and as an exploitation film, it isn't bad.
    • 62 Metascore
    • 60 Noel Murray
    The grubby melodrama should appeal to adventurous moviegoers — and to the director’s small-but-fervent cult — but even that crowd should brace themselves for something slow-paced and opaque.
    • tbd Metascore
    • 60 Noel Murray
    Even when Don’t Kill It veers toward the ordinary, Lundgren is there with his lived-in face and playful eyes, waiting as ever to spring into action. It’s great to see him in a fun movie again.
    • 63 Metascore
    • 60 Noel Murray
    The absence of style can be numbing, but it serves a purpose, positioning the documentary as a public record, not a work of art. As such, the film is eye-opening.
    • 70 Metascore
    • 60 Noel Murray
    When El Bola isn't drawing cheap sentiment from the sight of a bruised and scarred little boy, Mañas raises vexing questions about how and why parents leave lasting impressions on their children, and whether good intentions really matter.
    • 65 Metascore
    • 60 Noel Murray
    If the people in Chrystal are intended to be authentic, why do none of them look like they've ever seen the inside of a Wal-Mart?
    • 47 Metascore
    • 60 Noel Murray
    Predictable and corny, but to their credit, Cary and Rose strive to make the situation real.
    • 67 Metascore
    • 60 Noel Murray
    Mostly though, The Goebbels Experiment proves that historical figures have the worst perspective on themselves.
    • 60 Metascore
    • 60 Noel Murray
    The documentary is short, vividly shot, and packed with interviews in which desperate young men and women let loose their personal philosophies. In fact, there's so much philosophizing that there's not much time left for rap.
    • 65 Metascore
    • 60 Noel Murray
    Birth Of The Living Dead excels in Kuhns’ gathering of critics, academics, and filmmakers to analyze how and why the film works so well.
    • 64 Metascore
    • 60 Noel Murray
    Cutesy and slight, but it's also polished and well-lit, and Muyl makes a weeklong hike roll by pleasantly, reducing it to about 80 minutes of screen time.
    • tbd Metascore
    • 60 Noel Murray
    Though the acting is inconsistent and the dialogue often laughable (and not in the good way), the film has an appealing can-do quality and a strong dose of craziness that keeps it from ever becoming boring.
    • 53 Metascore
    • 60 Noel Murray
    On Any Sunday: The Next Chapter is doggedly down the middle, mixing sports action with talking-head interviews, set to an eclectic soundtrack of rock and country music. The movie feels scattered, jumping too quickly from subject to subject, with little of the original’s visual poetry.
    • 66 Metascore
    • 60 Noel Murray
    While the movie isn’t a consistently riveting four hours, Hoogendijk does keep finding images and moments that demystify the museum business while making the art seem all the more magical.
    • 68 Metascore
    • 60 Noel Murray
    Red Obsession is informative, and entertainingly so, with its honeyed Russell Crowe narration and sweet tracking shots through sun-dappled vineyards.
    • 56 Metascore
    • 60 Noel Murray
    Mettler is in no hurry to get to any particular point in The End Of Time. The film leaps from subject to subject—slowly, and somewhat haphazardly.
    • 70 Metascore
    • 60 Noel Murray
    While Our Last Tango is a little schematic overall, from moment to moment, it's beautifully choreographed.
    • 54 Metascore
    • 60 Noel Murray
    As one man's vacation video, it's outstanding, but as a documentary, it lacks verve, stylistically or journalistically.
    • 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.
    • 56 Metascore
    • 60 Noel Murray
    As a story, it never develops beyond the routine. Still, the aesthetic philosophizing works as a framework for daring visual experiments.
    • 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.
    • 51 Metascore
    • 60 Noel Murray
    Because the tone is so erratic, it’s hard to know whether its anticlimactic quality is a botch on Araki’s part, or a purposeful bit of genre subversion.
    • tbd Metascore
    • 60 Noel Murray
    It’s hard to keep track of all the old high school comedies that writer-director-producer Sean Nalaboff nods to in his feature film debut, Hard Sell. Eventually, though, the movie finds its own voice and groove, and avoids being a mere retro exercise.
    • 52 Metascore
    • 60 Noel Murray
    After establishing the AFFA’s complex, corrupt social structure, Stone and Logan wimp out considerably in the second half of Any Given Sunday, piling on the sports-melodrama clichés.
    • 59 Metascore
    • 60 Noel Murray
    Beyond the Gates is more imaginative than frightening, and Stewart and co-writer Stephen Scarlata take too long to get to the good parts, killing time with long dialogue scenes where the characters pause interminably between lines.
    • 64 Metascore
    • 60 Noel Murray
    Testin and Berg's work here is definitely promising, suggesting something better from both of them down the road.
    • tbd Metascore
    • 60 Noel Murray
    Mostly The Windmill is about watching some morally shaky people die horribly. But they do it with such dramatic gravitas that their inevitable eviscerations seem almost profound.
    • 52 Metascore
    • 60 Noel Murray
    Beautifully lit, with some inventive but unobtrusive framing, and the moody jazz score unifies the multiple storylines without overwhelming them. Yet while the movie never goes slack, it never really transcends its good intentions either.
    • 42 Metascore
    • 60 Noel Murray
    An otherwise plain action picture carried by strong performances and a mildly compelling mystery.
    • 67 Metascore
    • 60 Noel Murray
    Shawn’s adaptation mostly follows Ibsen’s original text, which is what keeps A Master Builder on the level of a well-meaning but only intermittently electrifying exercise.
    • 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.
    • 46 Metascore
    • 60 Noel Murray
    Ravenous is misbegotten in multiple ways. It isn’t scary enough to be an effective horror movie, or funny enough to be much of a comedy... But say this for Ravenous: It isn’t generic.
    • 63 Metascore
    • 60 Noel Murray
    Too much of Ari Folman’s half-animated science-fiction feature The Congress feels just a bit off—but every now and then, the concept, the performances, and Folman’s visual flair combine to produce something extraordinary.
    • 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.
    • 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.
    • 71 Metascore
    • 60 Noel Murray
    If von Carolsfeld had worked more surprises into her style and presentation, Marion Bridge wouldn't live down to its genre stereotype so readily.
    • 62 Metascore
    • 60 Noel Murray
    Until the thought-provoking, from-left-field twist ending, We Are the Flesh mostly seems like a series of sick tableaux, dredged up from the director’s subconscious and then splattered across the screen. But there’s genuine artistry even to this film’s most exploitative moments.
    • 66 Metascore
    • 60 Noel Murray
    The Phenom may be choppy, but it’s saying something sincere about how the pressure to be thought of as a winner can be an athlete’s most formidable opponent.
    • 58 Metascore
    • 60 Noel Murray
    Baskin won't be for everybody, but it's well made and imaginatively upsetting.
    • 67 Metascore
    • 60 Noel Murray
    They Will Have to Kill Us First doesn't offer much of a primer on Mali's political or cultural histories — which is the movie's biggest weakness. But Schwartz did capture some remarkable footage of musicians who've spent the last few years taking tentative steps to reclaim what makes their nation special.
    • tbd Metascore
    • 60 Noel Murray
    It’s almost as though Combs knows his public image remains fuzzy, caught among such labels as “mogul,” “criminal,” “sellout,” and “under-appreciated genius.” Consider this movie a purposeful step toward cementing a legacy.
    • 53 Metascore
    • 60 Noel Murray
    Big Game tries a little of everything, but ultimately settles into being a scrappy, lower-budget spin on the Big Dopey Action Movie genre. And as with nearly every stab at the BDAM, the audience’s satisfaction will depend largely on just how dopey they expect it to be.
    • 63 Metascore
    • 60 Noel Murray
    There’s a matter-of-factness to Israel: A Home Movie that’s disquieting, as it shows the joy and determination of a nation in the making, and the dismayed faces of those elbowed aside.
    • 66 Metascore
    • 60 Noel Murray
    The writer-director's overthinking on the matter is part of what's wrong with her debut film, which is sensitively shot, deeply felt, and dry as dirt.
    • 45 Metascore
    • 60 Noel Murray
    Love Object's plot is reminiscent of Guy Colwell's underground comic-book series "Doll," only Colwell dealt more with sex toys as emblematic of the systematic objectification of women, while Parigi just uses the concept for a bunch of weird shocks, dark laughs, and a fairly repellent twist ending.
    • 60 Metascore
    • 60 Noel Murray
    It'd be great if Rooms For Tourists had a clearer point, or something significant to say about the human condition, but even in spite of its low budget, cruddy look, and modest aspirations, the movie is art of a kind.
    • 70 Metascore
    • 60 Noel Murray
    Has a free-ranging mood, mixing tragedy and comedy irregularly, but Jeong's film is equally free with genre, and entertains its audience openly before pouring on the astringent.
    • 44 Metascore
    • 60 Noel Murray
    All four of the main performances are so strong that they deserve more space to develop and intertwine. Instead, at times, Blood plays like one long “previously on” montage for the series that inspired it.
    • 36 Metascore
    • 60 Noel Murray
    The plot of Solace is ultimately too generic — and too silly — to take seriously, which is probably why the film’s taken so long to come out. But it has style, and throwback appeal.
    • 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.
    • 42 Metascore
    • 60 Noel Murray
    Granted, there’s not much reason to watch this Whisky Galore! so long as the 1949 version still exists. But it’s clear that everyone involved with this production had genuine affection for the material and for the very idea of old Scotland as a genteel utopia populated by kindly tippler
    • 65 Metascore
    • 60 Noel Murray
    Spinning Plates is a slow starter... But the documentary finds more of a rhythm once it moves beyond generalities and starts getting into particulars.
    • 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.
    • 64 Metascore
    • 60 Noel Murray
    What saves Chinese Puzzle—making it not just tolerable, but likable—is how well Klapisch uses New York. The movie embraces the whole city.
    • 69 Metascore
    • 60 Noel Murray
    Nothing Can Hurt Me is frustratingly unfocused, petering out considerably after its first hour.
    • 35 Metascore
    • 60 Noel Murray
    31
    The Rob Zombie brand promises hard-core horror and scuzzy atmosphere, and “31” delivers just that. Even on autopilot, Zombie makes movies that hit hard and leave a stain.
    • 55 Metascore
    • 60 Noel Murray
    Bronson playing another strong man who would prefer not to have to kick as many asses as circumstances demand. Bronson is Vince Majestyk, a Colorado melon farmer who stands up against a criminal syndicate and the local law when he hires migrant day laborers to bring in his crop, rather than using the local mob’s drunken goons.
    • tbd Metascore
    • 60 Noel Murray
    The approach isn’t always satisfying. Some clips could use more setup, or even just a basic explanation.
    • 44 Metascore
    • 60 Noel Murray
    Has more flavor than leftovers have a right to.
    • 63 Metascore
    • 60 Noel Murray
    The Piersons are warm, funny people, and most of Reel Paradise shows them comically bickering with each other and laughing at the absurdity of the whole project.
    • 60 Metascore
    • 60 Noel Murray
    Gloomy Sunday's success in transcending its own clichés and conventionality -- at least until the morose finale -- is due in part to the story's primal romantic pull, aided by attractive actors who either stare longingly into each other's eyes or cavort in states of undress.
    • tbd Metascore
    • 60 Noel Murray
    Forced character arc aside though, this is a tightly constructed and well acted indie with a few standout sequences. It’s further proof that sometimes all a filmmaker needs is a cab and a camera.
    • 53 Metascore
    • 60 Noel Murray
    Offers watchable light entertainment, even though the prospect of the most respected national cinema indulging clunky cop-movie stereotypes is, if not scandalous, then at least disappointing.
    • 62 Metascore
    • 60 Noel Murray
    Too much of the film prioritizes the DJ’s problematic personal life over what made him famous. AM’s fans should get a lot out of the doc, but casual music-lovers may wish Kerslake would just get back to the party.
    • 69 Metascore
    • 60 Noel Murray
    Intended to be shamelessly heart-tugging and even uplifting in an odd way, but it's recommended mainly as an acting showcase.
    • 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.
    • 52 Metascore
    • 60 Noel Murray
    Mostly, it’s a tightly constructed, unapologetically nasty little thriller, given depth and weight by Wallace’s interpretation of a sweet woman suffering for her past.
    • 50 Metascore
    • 60 Noel Murray
    Bogliano provides a steady series of jolts, all the way to an ending that’s twisty but ultimately unsatisfying.
    • 78 Metascore
    • 60 Noel Murray
    A little slow for a crime story, and a little obvious with its anti-capitalism message.
    • 65 Metascore
    • 60 Noel Murray
    What saves 1001 Grams from being excruciatingly cute is that it does have a clean look and a pleasant tone, and it’s about a subject that’s both unusual and entertaining.
    • 66 Metascore
    • 60 Noel Murray
    Marking...does her best to keep it lively, mixing in actual security-camera footage and animated re-creations, along with pieces of old tourist promotions, newsreels, and industrial films. But Smash & Grab’s overall tone is too reserved, given the subject matter.
    • 51 Metascore
    • 60 Noel Murray
    Although the original sometimes looked like a bunch of loosely connected scenes, this Rabid Dogs feels more purposeful.
    • tbd Metascore
    • 60 Noel Murray
    The movie sports more personality than most low-budget thrillers, yet sometimes devolves into the kind of ponderousness that a collaborator might have second-guessed.
    • 54 Metascore
    • 60 Noel Murray
    Toad Road is sloppy and under-realized, but it should connect with anyone who’s ever made terrible choices for no good reason.
    • tbd Metascore
    • 60 Noel Murray
    The costars have good chemistry and bring a sense of desperation to their roles that animates a thin plot.
    • 57 Metascore
    • 60 Noel Murray
    Generation War never becomes great, but it overcomes its stiff start in large part due to its scope.
    • 52 Metascore
    • 60 Noel Murray
    La Vie Promise's style is too slick for the subject matter.
    • 67 Metascore
    • 60 Noel Murray
    Hellaware is short enough that its doggedness never gets tedious, but the film’s near-total absence of curveballs exposes either a limited imagination, or a lack of time and money to flesh out the premise.
    • 64 Metascore
    • 60 Noel Murray
    Dark Touch is meant to touch a nerve, not merely spook. It’s about deeper fears, and realer monsters.
    • tbd Metascore
    • 60 Noel Murray
    Even when the movie shades too far into the oblique or the obvious, its evocative scenes of urban life and Tobin’s powerful performance provide ample compensation. Plot twists or no, this is a vivid depiction of a lost soul.
    • 55 Metascore
    • 60 Noel Murray
    A terrific cast...helps create a vivid world, on the fringes of showbiz. But Schwartzman’s observations about music and money mostly stay locked in his head. Dreamland isn’t hard to understand by any means, but it does seem fairly negligible from moment to moment. Neither the situation nor the stakes are exactly life or death.
    • 46 Metascore
    • 60 Noel Murray
    For the most part, Fire Dancer presents an energetic mosaic of a displaced culture.
    • 66 Metascore
    • 60 Noel Murray
    For people who are Minutemen fans and movie buffs, We Jam Econo is kind of a mixed blessing. Watt and Hurley tell the Minutemen story well, but Irwin relies too much on corroborating interviews from punk vets like Flea and Ian MacKaye, who talk about how great the band was without offering much fresh insight.
    • 62 Metascore
    • 60 Noel Murray
    For those fans who don't mind enduring some tedium and confusion, Yakuza Apocalypse at least offers something memorably bizarre.
    • 68 Metascore
    • 60 Noel Murray
    While the plot relies too much on generalities, the film as a whole thrives on specifics.
    • 59 Metascore
    • 60 Noel Murray
    It’s a mash-up of familiar genre elements—too familiar, frankly—given a welcome sense of scope and shading by the location.
    • 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.
    • 50 Metascore
    • 60 Noel Murray
    Fast-paced, and entertaining in a soapy way, but plot demands require almost all of the dialogue to be flatly descriptive.
    • 37 Metascore
    • 60 Noel Murray
    Looks and sounds better than the average indie film debut.
    • 70 Metascore
    • 60 Noel Murray
    Makes effective drama, but ultimately it's just an outrage machine, designed to get the viewer fired up by the sight of warring ideologues preaching to their own.
    • 57 Metascore
    • 60 Noel Murray
    Moreau is magnetic as the wise-but-neurotic scribe, though the same can't be said of Demarigny, whose timid portrayal of a reverent fanboy sucks the energy out of most of his scenes. Dayan's direction is even more problematic.
    • 59 Metascore
    • 60 Noel Murray
    La Petite Lili isn't conventional or crowd-pleasing enough to appeal to audiences who like their foreign films safely sentimental, but it's also not daring enough for those who expect art to hurt a little.
    • tbd Metascore
    • 60 Noel Murray
    Nearly every shot of Blood in the Water looks like it could be some band’s album cover. And when it comes to stylish crime pictures, appearance counts.
    • 58 Metascore
    • 60 Noel Murray
    While Murdoch exhibits masterful control in a recording studio, he isn’t a natural-born filmmaker. Much of God Help The Girl feels haphazardly stitched together, with pieces missing or placed in the wrong order, as though Murdoch didn’t get all the footage he needed.
    • 65 Metascore
    • 60 Noel Murray
    While Memphis is similar in style and in assurance to the lower-ambition Pavilion, it reaches toward something it can’t fully grasp.
    • 54 Metascore
    • 60 Noel Murray
    Escape From L.A. is a mild letdown. It repeats the basic plot of the original, with a lighter tone, cheaper-looking (yet actually more expensive) special effects, and a grunge soundtrack.
    • 49 Metascore
    • 60 Noel Murray
    The emphasis on Blackout’s therapeutic qualities gets overly repetitive and banal — a little like listening to strangers analyze their dreams. But like Blackout itself, The Blackout Experiments is often chilling and hard to shake.
    • 54 Metascore
    • 60 Noel Murray
    Some Velvet Morning is absorbing and enraging, sure to spark debate both about its meaning and its method. More importantly, it’s a phenomenal performance piece, with LaBute capturing the incredible gifts of two masters of pretense.
    • 51 Metascore
    • 60 Noel Murray
    It's a straightforward, relatively style-free piece, primarily of interest to those who want to hear Zizek's pronouncements. But what distinguishes the film is Zizek's peculiar self-awareness, which borders on paranoia
    • 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.
    • 63 Metascore
    • 60 Noel Murray
    Beautifully shot and crisply edited to emphasize the Mass Games' pageantry, but amid the synchronized blocks of performers, Gordon singles out the cranky coaches and giggling schoolgirls, subtly emphasizing how the individual endures even when she's trying hard not to.
    • 62 Metascore
    • 60 Noel Murray
    There’s a sketchbook quality to La Última Película; it’s like notes for a movie that never really got made. Because the film is stubbornly unpolished, it all but dares viewers to scratch their heads and say they don’t get it.
    • 71 Metascore
    • 60 Noel Murray
    Taken in the right spirit, The Pervert’s Guide To Ideology is a lot of fun, like watching a movie with a friend, then going out for drinks and talking late into the night. Just don’t expect to get a word in edgewise.
    • 38 Metascore
    • 60 Noel Murray
    The movie as a whole has an immediacy that’s appealing even in its weaker second half.
    • 53 Metascore
    • 60 Noel Murray
    Given the complexity of this case and of the Satmar/Zionist feud, the documentary would've benefited from some dryly expert talking heads and a more conventional structure.
    • tbd Metascore
    • 60 Noel Murray
    Thanks to three lively lead performances and smart storytelling choices, what could have been a distasteful premise becomes surprisingly entertaining.
    • 71 Metascore
    • 60 Noel Murray
    The lack of a splashy style puts the tales of the rescued and their rescuers properly at the center, but whether viewers connect will depend in part on how saturated they are with Holocaust lore.
    • 65 Metascore
    • 60 Noel Murray
    Kim weaves these clichés into effectively nerve-wracking setpieces, though between the jumps, A Tale Of Two Sisters becomes mired in ponderous melodrama.
    • 48 Metascore
    • 58 Noel Murray
    Anyone looking for history lessons from Rae's documentary will have to be patient and alert enough to pick through the poetry.
    • 65 Metascore
    • 58 Noel Murray
    Windfall is undeniably persuasive - and is likely advocating on the right side of the wind-farm issue - but the movie's case relies more on emotional appeals and frightening images of giant machines than on real, objective number-crunching.
    • 39 Metascore
    • 58 Noel Murray
    Right up until the quake, Aftershock is a bland, sub-"Hangover" comedy about guys on the make in South America. Then finally, blessedly, the ground swallows up these shallow idiots.
    • 70 Metascore
    • 58 Noel Murray
    Queen To Play has a winning heroine, who fantasizes about being special and then works hard to make it happen. Too bad the rest of the movie is so common.
    • 66 Metascore
    • 58 Noel Murray
    The paltry amount of live performances is a crime. In some ways, Smith singing "Gloria" live would've been all the context anyone would ever need.
    • 46 Metascore
    • 58 Noel Murray
    The Whole Truth is a moderately clever, reasonably entertaining courtroom drama, which is only a problem given the talent involved with bringing something this middle-of-the-road to the screen.
    • 50 Metascore
    • 58 Noel Murray
    Vanishing On 7th Street does work well as a kind of mood-piece, observing all the ways we surround ourselves with the illusion of warmth and security, before the shadows creep in.
    • 61 Metascore
    • 58 Noel Murray
    The tone is so smart-ass that it’s bound to put a lot of viewers into a default defensive posture.
    • 70 Metascore
    • 58 Noel Murray
    Walker has something important to say with Countdown To Zero, but if this movie were standing on a doorstep with a petition, most reasonable people would sign it quickly and send it on its way, rather than inviting it in to chat.
    • 69 Metascore
    • 58 Noel Murray
    Listening to Berg's characters talk so naturally, honestly, and colorfully about the small, surmountable problems of their daily life is so engaging that whenever Kempner cuts away to another dry historian or fervent fan, it's doubly aggravating.
    • 64 Metascore
    • 58 Noel Murray
    After the first hour, it's clear the movie isn't going to offer any surprising new insights into messed-up modernity.
    • 61 Metascore
    • 58 Noel Murray
    Conviction is like "Erin Brockovich" meets "Rudy."
    • 52 Metascore
    • 58 Noel Murray
    Works best when it isn’t about freezing time and explaining moments in pop-music history, but is instead about guys playing music together.
    • 57 Metascore
    • 58 Noel Murray
    The main reason for anyone to see One More Time...is Walken, who brings a lot of life and fine shading to what could’ve been a one-note deadbeat dad type.
    • 68 Metascore
    • 58 Noel Murray
    The end result is awfully sketchy, more a collection of ideas and memories than a proper film.
    • 56 Metascore
    • 58 Noel Murray
    At 70 minutes, Douchebag feels both rushed and way too slack, but the bigger problem is that the kind of characters and humor this movie traffics in can be found in a more compact, amusing package on the average FX show.
    • 51 Metascore
    • 58 Noel Murray
    Like a lot of Gitaï's films, Free Zone is part history, part allegory, and part art. Both the history and art hold their fascinations.
    • 44 Metascore
    • 58 Noel Murray
    Perhaps the best that can be said of Salt and Fire is that its flaws are wholly Herzog’s. Those flaws are deep. But so is the man responsible for them.
    • 54 Metascore
    • 58 Noel Murray
    The movie is exciting at times, moving at times, and watchable throughout, but fans of The Germs and L.A. punk may start to pine for what's missing around the time Michele Hicks shows up.
    • 56 Metascore
    • 58 Noel Murray
    It may be truer to the lives of his amateur cast to watch them engage in mumbly, inarticulate conversations between rounds of failed skate tricks, but it isn't especially cinematic.
    • 43 Metascore
    • 58 Noel Murray
    While the actors are game, their characters are awfully generic.
    • 56 Metascore
    • 58 Noel Murray
    Bob Byington’s 7 Chinese Brothers is no "Listen Up Philip," but it’s an amiable enough slacker comedy, boosted by its star.
    • 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.
    • 52 Metascore
    • 58 Noel Murray
    As an expression of from-the-gut anti-war rage, Redacted is admirable, but as art, it's undercooked.
    • 51 Metascore
    • 58 Noel Murray
    Brian Savelson's small-scaled domestic drama In Our Nature evokes a specific, fairly common experience: when two young lovers expose a still-blossoming relationship to their relatives' stifling attention.
    • 59 Metascore
    • 58 Noel Murray
    It isn't a biography of the legendary photographer, and it's not exactly an essay. Mostly, Bütler fills the screen with Cartier-Bresson's photographs while people explain their greatness.
    • 64 Metascore
    • 58 Noel Murray
    Ultimately though, apart from the ages of the protagonists, Cloud 9 is a standard-issue infidelity story.
    • 48 Metascore
    • 58 Noel Murray
    It's a fascinating film to think about, but far too cool to touch.
    • 63 Metascore
    • 58 Noel Murray
    The Other Son's setup is too contrived, carried along by conversations that are either confrontational or artificially elusive.
    • 54 Metascore
    • 58 Noel Murray
    If only Snow Cake had hewed closer to this idea of showing what an adult autist's life and experiences are like, rather than getting caught up in Rickman's rote re-awakening, it could've been as powerful as it strains to be.
    • 68 Metascore
    • 58 Noel Murray
    A persistent disappointment... a flabby, cutesy Bond picture, which derives most of its enduring entertainment value from its cast—starting with the man at the top.
    • 65 Metascore
    • 58 Noel Murray
    Tucker & Dale Vs. Evil is too slick and too cute; Tudyk and Labine are terrific comic actors, but the movie might've been better served by less-recognizable faces.
    • 47 Metascore
    • 58 Noel Murray
    Full Grown Men often becomes as intolerably silly as the twee Amerindies it's reacting to.
    • 20 Metascore
    • 58 Noel Murray
    Though The Informers is by no means great--nor wholly true to the vision of Ellis, who co-wrote the screenplay with Nicholas Jarecki--moments sprinkled throughout the film capture Ellis' particular mix of flip yuppie satire and lived-in paranoia better than any big-screen version of his work to date.
    • 41 Metascore
    • 58 Noel Murray
    Message from the King isn’t a chore to watch by any means; and there are moments that suggest the more colorful neo-noir that might’ve been.

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