For 886 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 7.1 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 The Child
Lowest review score: 10 A Love Song for Bobby Long
Score distribution:
  1. Negative: 27 out of 886
886 movie reviews
    • 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.
    • 38 Metascore
    • 60 Noel Murray
    The movie as a whole has an immediacy that’s appealing even in its weaker second half.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 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.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Noel Murray
    Generation War never becomes great, but it overcomes its stiff start in large part due to its scope.
    • 78 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.
    • 48 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.
    • 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
    • 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.
    • 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.
    • 63 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 26 Metascore
    • 58 Noel Murray
    It's no "trip through the dark to appreciate the light." It's a nightmare from start to finish.
    • 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.
    • 52 Metascore
    • 58 Noel Murray
    As an expression of from-the-gut anti-war rage, Redacted is admirable, but as art, it's undercooked.
    • 22 Metascore
    • 58 Noel Murray
    What Goes Up has a one-of-a-kind character in Coogan, a cynic with a savior complex, who lies partly out of convenience, and partly because he knows--as Glatzer and Lawson know--that even a messy story can still inspire.
    • 52 Metascore
    • 58 Noel Murray
    Isn't slow-paced. It’s slick and audience-friendly.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 58 Noel Murray
    While the actors are game, their characters are awfully generic.
    • 43 Metascore
    • 58 Noel Murray
    Survival has lots of those clever kills; Romero just doesn't provide enough reason for them to be.
    • 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.
    • 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.
    • 56 Metascore
    • 58 Noel Murray
    The film seems even more one-note when compared to the recent indie feature "Chop Shop," which also follows young immigrant hustlers in NYC, yet takes the time to provide a fuller picture of the city and its opportunities. Zalla prefers to wallow in the dead-end, an approach that's initially powerful, then numbing.
    • 47 Metascore
    • 58 Noel Murray
    Full Grown Men often becomes as intolerably silly as the twee Amerindies it's reacting to.
    • 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.
    • 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.
    • 49 Metascore
    • 58 Noel Murray
    A respectable enough little ghost story, but it loses a lot of sparkle by being similar to such other guy-talks-to-the-dead thrillers as "The Sixth Sense" and "Ghost Town."
    • 25 Metascore
    • 58 Noel Murray
    Most of the last hour of Memorial Day feels like a retread at least, and horribly exploitative at worst.
    • 64 Metascore
    • 58 Noel Murray
    Ultimately though, apart from the ages of the protagonists, Cloud 9 is a standard-issue infidelity story.
    • 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.
    • 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.
    • 61 Metascore
    • 58 Noel Murray
    Conviction is like "Erin Brockovich" meets "Rudy."
    • 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.
    • 37 Metascore
    • 58 Noel Murray
    The book may have been too unwieldy for Roos to wrangle. There's a lot of story (and backstory) here, which Roos tries to squeeze in every which way.
    • 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.
    • 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.
    • 64 Metascore
    • 58 Noel Murray
    It might've mattered to the audience too, if we had any inkling from the first hour of The Robber who this guy is, or why we should care what happens to him.
    • 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.
    • 63 Metascore
    • 58 Noel Murray
    A corporate crime thriller that explores the relationships of women in power, but while Corneau delivers a slick, well-acted piece with a surprising mid-movie twist, Love Crime is too thin and too on-point to deliver the jolt he and co-screenwriter Nathalie Carter most likely intended.
    • 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.
    • 38 Metascore
    • 58 Noel Murray
    Ridiculousness aside, though, Brake is reasonably impressive both as a performance piece and as an exercise in staging.
    • 74 Metascore
    • 58 Noel Murray
    This aestheticizing of troubled lives proves problematic over the long haul.
    • 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.
    • 48 Metascore
    • 58 Noel Murray
    It's a fascinating film to think about, but far too cool to touch.
    • 46 Metascore
    • 58 Noel Murray
    Overall, The Oranges appears to have been forcibly wrested into a conventional indie-dramedy package, rather than finding the length, style, structure, and perhaps medium that would best suit it.
    • 63 Metascore
    • 58 Noel Murray
    The Other Son's setup is too contrived, carried along by conversations that are either confrontational or artificially elusive.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 50 Noel Murray
    Assisted Living gets a little better as it wears on, and at least it's refreshingly short.
    • 64 Metascore
    • 50 Noel Murray
    Though it's equally concerned with sensitive young criminals in squalid communities, Schizo is no "City Of God," for better and worse.
    • 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.
    • 48 Metascore
    • 50 Noel Murray
    More speculative than deeply felt.
    • 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.
    • 53 Metascore
    • 50 Noel Murray
    It's sweet, but way too silly.
    • 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.
    • 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.
    • 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.
    • 78 Metascore
    • 50 Noel Murray
    The more overtly allegorical Innocence becomes, the duller it gets.
    • 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.
    • 61 Metascore
    • 50 Noel Murray
    For all its documentary-style urgency, Private often feels forced.
    • 71 Metascore
    • 50 Noel Murray
    Ewing and Grady practically squander the African material, and The Boys Of Baraka doesn't really come to life until the boys return to Baltimore for what turns out to be a permanent summer vacation, due to political unrest overseas.
    • 72 Metascore
    • 50 Noel Murray
    4
    In spite of a handful of striking images--4 never resolves into anything special.
    • 62 Metascore
    • 50 Noel Murray
    Still, after an hour and a half of exquisite photography and mushy action, audiences may well ask the unspoken question that plays across the faces of the Rolling Family clan right before the closing credits. Was it worth it?
    • 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.
    • 56 Metascore
    • 50 Noel Murray
    The filmmaking here is flat, straight, and thoroughly lacking in poetry, and the script--co-written by Cattaneo, Rice, and Phil Traill--tells instead of showing.
    • 62 Metascore
    • 50 Noel Murray
    Nolte almost makes it work.
    • 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.
    • 54 Metascore
    • 50 Noel Murray
    Maggenti is still trapped behind surfaces, enamored of the IDEA of making a buoyant, urbane romantic comedy, while falling short of anything really resonant or personal.
    • 62 Metascore
    • 50 Noel Murray
    The gold standard for the modern monster movie remains "Tremors," which combines genuine thrills with clever plot twists and distinctive characters. By contrast, Black Sheep has a bunch of one-note living jokes running around willy-nilly while being chased by killer sheep.
    • 61 Metascore
    • 50 Noel Murray
    Given the gift of Posey at the peak of her powers, Cassavetes squanders her star in low-key, go-nowhere conversations, shot without flair and drained of any improvisatory energy.
    • 69 Metascore
    • 50 Noel Murray
    The Last Winter's heart is in the right place, but it isn't pumping any blood.
    • 46 Metascore
    • 50 Noel Murray
    Finishing The Game doesn't get anywhere that "Hollywood Shuffle" didn't go to first, even if it has its own set of specific complaints about how show business treats Asians.
    • 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."
    • 55 Metascore
    • 50 Noel Murray
    Something is missing here.
    • 40 Metascore
    • 50 Noel Murray
    It's an old-fashioned hoke-fest, in which the otherness of Germany is connoted by having everyone speak with a British accent.
    • 39 Metascore
    • 50 Noel Murray
    The Edge Of Love is more like a museum piece, placing historical figures in frozen positions, and asking us to judge them as the curators do.
    • 49 Metascore
    • 50 Noel Murray
    Jaud isn’t telling a story so much as he’s making a case, and while his case is persuasive, it doesn’t really work as a movie. The information in Food Beware could fit just as easily--and just as effectively--into a pamphlet.
    • 49 Metascore
    • 50 Noel Murray
    For a movie about the unpredictability of life, Pippa Lee plays it awfully safe.
    • 51 Metascore
    • 50 Noel Murray
    What begins as a multilayered tale of scientific discovery and cultural history gets reduced to a single maudlin idea: that even Charles Darwin had to evolve.
    • 35 Metascore
    • 50 Noel Murray
    In spite of a little bit of sex and a lot of strong profanity, Ordinary Sinner is pretty reminiscent of an old Afterschool Special.
    • 35 Metascore
    • 50 Noel Murray
    Sports broad, sitcom-ish performances and a surprising amount of sweetness and wisdom.
    • 53 Metascore
    • 50 Noel Murray
    A clean, tasteful drama (sex scenes aside) that's designed to attract Anglophiles who can't resist green lawns, falling leaves, precise diction, and a clean sound mix.
    • 57 Metascore
    • 50 Noel Murray
    While Saints And Sinners will strike some as a refreshingly even-toned social study, it's also a documentary heavy on talking heads and low on real drama. It's beautifully shot and deeply felt, but, for the most part, hearing a description of the film is as good as watching it.
    • 47 Metascore
    • 50 Noel Murray
    It doesn't help that Sullivan has twice as much screen time and half as much charisma as Braun.
    • 63 Metascore
    • 50 Noel Murray
    The two of them (Washington/Mendez) together, playing police-procedural dodgeball, make for a good movie. Too bad there are other people on the team, and that the pre-game show runs so long.
    • 61 Metascore
    • 50 Noel Murray
    Ultimately as fascinating as it is frustrating.
    • 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.
    • 67 Metascore
    • 50 Noel Murray
    Too many of these characters behave like they just stepped out of a Noel Coward production.
    • 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.
    • 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.
    • 48 Metascore
    • 50 Noel Murray
    Though clumsy, Particles Of Truth isn't hopeless. Before turning to filmmaking, Elster made her living as a celebrity fashion stylist, so she has a good eye for color, motion, and the feel of New York in summer. And, because she worked primarily on music videos, she uses music well.
    • 46 Metascore
    • 50 Noel Murray
    Though the oppressive artiness makes the early scenes fairly ridiculous, the director's odd methods add rare tension to the climax, as it becomes evident that the finale won't be so predictable in Campion's hands.
    • 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.
    • 59 Metascore
    • 50 Noel Murray
    In their attempt to make rural life look magical, Scott and Pouliot dehumanize their characters, substituting quirks for true individuality.
    • 65 Metascore
    • 50 Noel Murray
    As documentary moviemaking, though, Ellis and Mueller's work falls a little flat.
    • 58 Metascore
    • 50 Noel Murray
    Miike has served up some of the most dumbfounding images in contemporary cinema.
    • 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.
    • 57 Metascore
    • 50 Noel Murray
    The Tony Scott version of Tarantino comes out vulgar; the graphic violence and profanity-laced posturing represent everything that the wannabes soon used to exhaust audiences. Nevertheless, True Romance contains so many unforgettable moments.
    • 46 Metascore
    • 50 Noel Murray
    Anyone who thinks Beyond The Sea is a movie about Bobby Darin isn't paying close enough attention.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Noel Murray
    Grapples with tough subject matter, and earns a little leeway in its approach.
    • 34 Metascore
    • 50 Noel Murray
    The situation plays out in a haze of shouting and debauchery so excessive that it becomes silly. The movie looks great and sounds great--apart from what the people in it do and say.
    • 46 Metascore
    • 50 Noel Murray
    The particulars of her situation are well-imagined, but Wolman's characters remain little more than mouthpieces.
    • 57 Metascore
    • 50 Noel Murray
    The main problem with The Promised Land is that Jhally and Ratzkoff are eager to foster dissent, but not to invite it into their own movie. Their talking heads sound rehearsed and repetitive, and the righteous anger dissipates without a contrary opinion to provide a ceiling.
    • 45 Metascore
    • 50 Noel Murray
    Though the whole of Freak Weather is too forced and fitful, significant stretches of the movie hold together. McKenzie gives a magnetic performance.
    • 44 Metascore
    • 50 Noel Murray
    The documentary is fair-minded but vague, and disturbing only when it describes the cat-killing in gruesome detail...Someone should take another crack at this story. Call it "The Art Of Killing Of A Movie."
    • 60 Metascore
    • 50 Noel Murray
    Pachachi doesn't integrate her interviews into any kind of comprehensive portrait of recent Iraq history. They're bunched together randomly, like a collection of vignettes.
    • 67 Metascore
    • 50 Noel Murray
    Viewers will either be transported by Honkasalo's somber artistry or begging for someone to stick a gasoline-filled syringe into their veins...As art, 3 Rooms is magnificent, but as a viewing experience, it's almost impossible.
    • 60 Metascore
    • 50 Noel Murray
    Argo's job should only be a minor piece of this Gotham mosaic, but Jones makes the racketeering scenes so familiar that they grate against the rest of the movie.
    • 55 Metascore
    • 50 Noel Murray
    But compared to great documentaries about the process behind performance-"Last Dance" and "Original Cast Album: Company" spring to mind-Finding Eléazar is too choppy and fussy.
    • 61 Metascore
    • 50 Noel Murray
    Loktev's efforts to universalize this story by avoiding specifics ends up making Day Night Day Night broad and blank, reducing the lead character to one more generic nutcase for us to fear and pity.
    • 68 Metascore
    • 50 Noel Murray
    Pierrepoint is handsomely crafted and well-acted, but its sense of scale is as constricted as a noose.
    • 54 Metascore
    • 50 Noel Murray
    Broderick, Alda, and Madsen are all fine--and Alda has some poignant moments as he realizes the implications of his forgetfulness--but their presence in a movie like this reaffirms its conventionality.
    • 53 Metascore
    • 50 Noel Murray
    There's little here that's especially cage-rattling or side-splitting. Ultimately, Allah only made these guys mildly likable.
    • 63 Metascore
    • 50 Noel Murray
    Well-produced and engaging, but it’s also anecdotal and conspiratorial, and damnably non-confrontational.
    • 51 Metascore
    • 50 Noel Murray
    While Mammoth is frequently poignant and beautifully acted--especially by Williams, who’s so lost and lonely that she becomes casually cruel--the movie lacks the personal touch that’s distinguished even Moodysson’s “difficult” films.
    • 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.
    • 34 Metascore
    • 50 Noel Murray
    Stolen is mildly engaging, inasmuch as it poses a riddle and makes the audience wait for the answer, in the classic mystery mode.
    • 68 Metascore
    • 50 Noel Murray
    Kisses is dreary to a fault. It looks fantastic, with its shadowy Dublin alleys illuminated by the heroes' light-up Heelys. But the writing doesn't have that same glow.
    • 62 Metascore
    • 50 Noel Murray
    The problem is that Hughes fails to imbue this homage with anything personal. Aside from splicing together a policier and a Western, there's no spin here, just a checklist of clichés.
    • 56 Metascore
    • 50 Noel Murray
    Since there's no plot, just a series of anecdotes, much of the meaning in the movie version of On The Road is meta-textual, relying on the viewers' knowledge of who Kerouac was, and how the novel's vision of America differed from how most of the rest of popular culture documented the '50s.
    • 57 Metascore
    • 50 Noel Murray
    Say this for Albert Nobbs: It's not some run-of-the-mill "life lived in service" drama.
    • 65 Metascore
    • 50 Noel Murray
    Writer-director Dan Rush could've approached this material in dozens of ways, but the way he chooses-turning it into an occasionally wry, ever-earnest dramedy-is precisely the wrong one.
    • 61 Metascore
    • 50 Noel Murray
    The trolls are the best part of Troll Hunter; they're funny and creepy.
    • 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.
    • 38 Metascore
    • 50 Noel Murray
    Angels Crest has weaknesses that are tough to overcome. It relies too much on two particularly played-out indie clichés: a spare, plunky soundtrack, and a narrative structure that teases out characters' backstory far longer than necessary.
    • 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.
    • 64 Metascore
    • 50 Noel Murray
    It's a shame that a movie about the pope as a man shows such scant fascination with the actual papacy - or with humanity, for that matter.
    • 66 Metascore
    • 50 Noel Murray
    That seems to be one of the main theses of Unforgivable: that nothing is as dramatic as it appears, and presuming otherwise means risking unnecessary trouble and pain.
    • 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.
    • 52 Metascore
    • 50 Noel Murray
    LUV
    Candis and Wilson sandbag their actors with dialogue that's a mix of dull exposition and pulp clichés, and rarely natural-sounding or colorful.
    • 30 Metascore
    • 50 Noel Murray
    There's nothing wrong with the idea of trying to make a Bad News Bears for the '10s, and Rohal has the comic talent in front of the camera to do the job. In addition to Oswalt and Knoxville, he has Maura Tierney as Knoxville's wife.
    • 56 Metascore
    • 50 Noel Murray
    Three Stars works best as straight-up food-porn.
    • 43 Metascore
    • 50 Noel Murray
    The result is a movie largely devoid of attitude or suspense. My Best Enemy is brisk and eventful, but after a while, it begins to seem like Murnberger is rushing through this material, afraid to dwell too long on any one situation, lest it tip too far into exploitation.
    • 42 Metascore
    • 50 Noel Murray
    Director Dante Ariola and writer Becky Johnston have such a strong idea at the core of Arthur Newman that it’s all the more frustrating when they follow it down the most familiar path.
    • 67 Metascore
    • 50 Noel Murray
    You Will Be My Son works best when it’s at its most unforced, and when the world of wine-making—with its anticipation of the season’s cycles and its fascination with subtle changes in flavor—intersects naturally with the life of a European business leader who has skewed priorities.
    • 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.
    • 50 Metascore
    • 50 Noel Murray
    The default middle ground between true-to-life and wacky in I Give It A Year turns out to be a place of dreary artificiality.
    • 62 Metascore
    • 50 Noel Murray
    Compared to other, similar offbeat monster movies, Grabbers is under-realized. It isn’t as smartly plotted or funny as Tremors, nor as politically charged as The Host.
    • 40 Metascore
    • 50 Noel Murray
    As routine and undercooked as Beneath’s one-wet-corpse-after-another plot is, the movie is still breathtakingly beautiful at times, with compositions and color tones that resemble a high-class fashion-magazine layout circa 1965.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Noel Murray
    There’s a context to Struzan—not just biographically, but culturally—and while Sharkey seems to understand that, his movie, ironically, doesn’t illustrate it particularly well.
    • 55 Metascore
    • 50 Noel Murray
    This is the rare martial-arts film where the martial arts are tedious and the conversations more compelling.
    • 60 Metascore
    • 50 Noel Murray
    Ultimately, all the metafictions and social commentary are too vague to have any meaning, beyond giving Johnson a foundational justification for this movie. But while The Dirties is in some ways appalling, it’s also effective.
    • 42 Metascore
    • 50 Noel Murray
    What’s most frustrating about Devil’s Knot—especially for longtime Egoyan fans—is how generic the movie becomes every time it folds another wrinkle into the case.
    • 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.
    • 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.
    • 63 Metascore
    • 50 Noel Murray
    Every time Peaches Does Herself seems to be falling into an inescapable rut of sneering and shock, Peaches comes up with with an image that deepens the whole endeavor.
    • 59 Metascore
    • 50 Noel Murray
    At its best, Running From Crazy is a powerful portrait of a woman who’s wrested control of her life by understanding the patterns her relatives fell into, and consciously breaking them.
    • 54 Metascore
    • 50 Noel Murray
    It’s a pleasure just to spend 85 minutes looking at Corbijn’s photos and videos, but as a character sketch (which is really all this documentary is), Inside Out is, perhaps appropriately, pretty spare.
    • 55 Metascore
    • 50 Noel Murray
    Even for a fairly low-budget movie, Tusk doesn’t feel thought-through, or focused enough.
    • 64 Metascore
    • 50 Noel Murray
    The parts of Finding Fela that best handle the tricky nuances of Kuti’s worldview are the parts that show Jones and the Fela! creative team grappling with those same questions.
    • 55 Metascore
    • 50 Noel Murray
    Hellion lingers for most of its running time in a betwixt-and-between place, never becoming either the sublime character sketch or the overripe melodrama it alternately promises to be.
    • 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.
    • 59 Metascore
    • 50 Noel Murray
    Hateship Loveship is unimpressive as a whole, but it’s stitched together with small, memorable touches.
    • 64 Metascore
    • 50 Noel Murray
    The two leads are so strong in these parts that it’s too bad they rarely get the chance to do more with them.
    • 42 Metascore
    • 42 Noel Murray
    Christopher delivers cutesy jabber and one-note characters, as oily and devoid of substance as... well, you know.
    • 48 Metascore
    • 42 Noel Murray
    The Sutherland segments are the most bothersome, because they never really reach a resolution, and because they're betrayed by Avelino's uni-faceted approach.
    • The A.V. Club
    • 73 Metascore
    • 42 Noel Murray
    The sketchily symbolic characters and flat plot just frame an atmosphere of sticky heat and Biblical reckoning.
    • 65 Metascore
    • 42 Noel Murray
    The drama feels factory-cut and shrink-wrapped, with each of three kids' stories following predictably twisty paths to ironically hopeful conclusions.
    • 46 Metascore
    • 42 Noel Murray
    Oskar Roehler's serio-comedy Agnes And His Brothers tries to make some incisive points about the damage wrought by society's sexual hang-ups, but though Roehler throws three different characters at the subject, only one halfway sticks.
    • 36 Metascore
    • 42 Noel Murray
    It isn't exactly a waste of time, but anyone who's seen a mob movie or TV show in the past 30 years has pretty much seen 10th & Wolf.
    • 43 Metascore
    • 42 Noel Murray
    Burns has continued to cram one-dimensional characters into thinly plotted comedy-dramas, hoping to re-impress moviegoers with his aloof leading-man charm and faux-natural, trying-too-hard-to-be-funny dialogue.
    • 41 Metascore
    • 42 Noel Murray
    All the nudity in Zerophilia is either prosthetic or body-doubled. Which means the sex scenes--and the feeling and meaning behind them--are just as phony.
    • 57 Metascore
    • 42 Noel Murray
    Bercot moves the characters up and down like lines on a chart, never granting full access to what any of them are thinking. And access is what Backstage promised.
    • 47 Metascore
    • 42 Noel Murray
    In the words of his own character, this young filmmaker hasn't found his "inner fat girl."
    • 71 Metascore
    • 42 Noel Murray
    Manda Bala is exciting and stylish, and Kohn knows exactly what he wants the movie to say. But he makes most of his points in the first 10 minutes, with disgusting slow-motion frog footage and sound bites from social scientists pointing out how "corruption is what links all other crimes." The rest is just so much show.
    • 50 Metascore
    • 42 Noel Murray
    Aside from a smattering of irony and a resolution for one of the storylines, the security cameras aren't really threaded into Look's essential purpose. If the idea is that we're always being watched, why does it seem that in this movie, no one's really paying attention?
    • 53 Metascore
    • 42 Noel Murray
    Has its moments of wonder and beauty, but the film is obscure by design, and meant to appeal to those who favor the alternative canon of directing greats: the one that includes the likes of Alejandro Jodorowsky, David Lynch, Crispin Glover, John Cassavetes, Claire Denis, Abel Ferrara, and Vincent Gallo.
    • 37 Metascore
    • 42 Noel Murray
    Forever Strong is generic faith-and-redemption fare, devoid of nuance.
    • 29 Metascore
    • 42 Noel Murray
    All the performers are fine--even the miscast Romijn--but they're still too much like actors playing dress-up.
    • 44 Metascore
    • 42 Noel Murray
    Skills Like This is never great. But for its first half-hour, it's more fitfully amusing than a movie about a bank-robbing playwright ought to be.
    • 46 Metascore
    • 42 Noel Murray
    The problem with Desert Wind is that Kohler takes everything at face value. Wouldn't it have been more useful to make this trip the centerpiece of a longer documentary that follows the men before Tunisia and, more importantly, after?
    • 46 Metascore
    • 42 Noel Murray
    The one bit of artsy business that McGee pulls off well is the recurring image of snapshots, serving as a kind of map to who these people were and who they're becoming.
    • 54 Metascore
    • 42 Noel Murray
    Amu
    The flat, pat talk is symptomatic of Amu's overriding problem: It has no sense of personal style.
    • 52 Metascore
    • 42 Noel Murray
    It's hard to overlook how much of Elsa & Fred is rote and pre-chewed.
    • 50 Metascore
    • 42 Noel Murray
    Nothing in How About You is the least bit surprising; the film hits its marks with dreary precision.
    • 52 Metascore
    • 42 Noel Murray
    Undoubtedly, everything documentarian Darius Marder shows in his debut film Loot actually happened, but Marder’s approach to this “truth is stranger than fiction” story is so forced that the movie FEELS phony.
    • 55 Metascore
    • 42 Noel Murray
    Director Tom DiCillo does his damnedest to make his documentary about The Doors unwatchable, but the subject matter is too compelling--and the vintage footage too electrifying--to be completely worthless.
    • 40 Metascore
    • 42 Noel Murray
    Cox’s character is a living, hissing embodiment of the idea that no good deed goes unpunished. As an actor stuck in a movie that wastes his talents, Cox can surely relate.
    • 35 Metascore
    • 42 Noel Murray
    Branch also adds some welcome visual pizzazz when needed, and admirably tries to keep the movie from becoming the story of a heroic creative adventurer and the people who try to drag him down. The characters in Multiple Sarcasms are more nuanced, and don’t reduce to a generic good or bad.
    • 49 Metascore
    • 42 Noel Murray
    At the start of Gerrymandering, Reichert quotes Thomas Pynchon, writing, "Nothing will produce bad history more directly nor brutally than drawing a line." The same could be said of documentaries.
    • 30 Metascore
    • 42 Noel Murray
    It's a lousy movie, but it has spunk.
    • 33 Metascore
    • 42 Noel Murray
    It's tough to keep track of everything Jeff Warrick's subliminal-advertising documentary Programming The Nation? does wrong.
    • 38 Metascore
    • 42 Noel Murray
    Nothing about The Ward's script or direction has much snap. The dialogue is never witty, the characters are indistinct, the story is set in 1966 for no relevant reason, and the scares are strictly of the "thing jumps loudly out of the shadows" variety.
    • 37 Metascore
    • 42 Noel Murray
    Roughly 99 percent of the time, if a movie that seems like it should be a big deal appears almost out of the blue, it's because it's lousy. The Double doesn't exactly buck that trend.
    • 43 Metascore
    • 42 Noel Murray
    This is an inspiring and important story, but worthiness doesn't automatically equal quality. Had Besson looked for unexpected ways into Suu Kyi's life, or even had he indulged his old impulses and made a slick, surface-y Luc Besson movie, then The Lady might've been more memorable.
    • 46 Metascore
    • 42 Noel Murray
    There's a difference between "funny" and "comedy," and the movie adaptation of Killing Bono tries way too hard to be nutty, at the expense of just getting across what McCormick knows.
    • 29 Metascore
    • 42 Noel Murray
    Give Don't Go In The Woods credit for not being a wholly conventional horror movie. Debit it for not caring about horror in the first place.
    • 59 Metascore
    • 42 Noel Murray
    More than anything, The Playroom feels like an excuse to explore this retro house from a child’s point of view—which is perfectly okay, provided no one breaks the spell by talking.
    • 36 Metascore
    • 42 Noel Murray
    Red Lights' setup is silly but fun, with a fair degree of self-awareness that the film's entire "super-scientists vs. celebrity spiritualists" premise is a hoot.
    • 55 Metascore
    • 42 Noel Murray
    There's a solid framework in place here for a fun, original twist on a conventional science-fiction premise, but aside from the occasional quirky touch - Vigalondo fails to fill that frame with a picture worthy of it.
    • 52 Metascore
    • 42 Noel Murray
    The best parts of Deadfall are absorbed into a scenario that frequently ditches the cat-and-mouse routine and tries instead to be about three dysfunctional families working toward reconciliation.
    • 33 Metascore
    • 42 Noel Murray
    Rites Of Spring does have a real "no idea what's going to happen next" quality, which is rare. Then again, that's because the movie feels haphazard and unfinished: more weed than plant.
    • 45 Metascore
    • 42 Noel Murray
    What's missing from this movie is any of that sense of what made Chapman so important, or why he was so often at the center of Monty Python's best skits and movies, up until his death from cancer at 48.
    • 54 Metascore
    • 42 Noel Murray
    Fairhaven's location is lovely. Its actors are terrific. All of them beg for something better.
    • 60 Metascore
    • 42 Noel Murray
    This time out, Bahrani’s push to make a point wins out over the strong sense of character he’s cultivated in his earlier films.
    • 46 Metascore
    • 42 Noel Murray
    It’s too broad in both its humor and its melodrama, and there are so many narrative threads that none of them aside from Driver’s really get their due.
    • 44 Metascore
    • 42 Noel Murray
    Friedrich’s snide tone gets in the way, turning a study of capitalism run amok into one artist who just can’t stand all these rich squares and their “fancy dogs.”
    • 52 Metascore
    • 40 Noel Murray
    For all the smart visual design, though, She's One Of Us is frustratingly clinical.
    • 37 Metascore
    • 40 Noel Murray
    In the process of becoming characters, the writer-stars have diminished themselves.
    • 41 Metascore
    • 40 Noel Murray
    What's most surprising about Never Been Thawed is that it's not completely awful. It's just a little awful.
    • 54 Metascore
    • 40 Noel Murray
    Everyone in Bee Season is chasing spiritual peace and falling behind, and McGehee and Siegel catch them at their most worn-out and static.
    • 60 Metascore
    • 40 Noel Murray
    There's enough mystery and agony here for an engaging documentary, but Rossier fails to produce one, largely because he doesn't approach the material in the spirit of true inquiry.
    • 45 Metascore
    • 40 Noel Murray
    Bounce Ko Gals ultimately devolves into a litany of social ills, with not enough of a proper story, and Harada loses the thread of the film whenever he slips into slapstick comedy, or has his female leads play the role of giggly best friends.
    • 35 Metascore
    • 40 Noel Murray
    It's just mediocrity, further soured by bad intentions.
    • 48 Metascore
    • 40 Noel Murray
    Pelosi should be roughed up some, though, for what little she does with her access to the then-president-to-be and the political circus surrounding him.
    • 60 Metascore
    • 40 Noel Murray
    Reconstruction doesn't evoke much emotion beyond cool ennui. At that, the film excels.
    • 44 Metascore
    • 40 Noel Murray
    The two leads help create an atmosphere of quiet surety, but they can't elevate the film beyond its self-imposed smallness.
    • 52 Metascore
    • 40 Noel Murray
    It's hard for Rick to maintain this jangled tone, which aims to be simultaneously heartbreaking and broadly satirical. The latter tack pushes Rick too far, and too soon.
    • 29 Metascore
    • 40 Noel Murray
    Palminteri and screenwriter David Hubbard desperately want the crazy misfits in their movie to move the audience, but they're all too cracked to inspire empathy. There's no holiday magic, just famous faces playing people who don't exist.
    • 47 Metascore
    • 40 Noel Murray
    The outsider road picture Gypsy 83 means well, but writer-director Todd Stephens can't keep his aesthetic out of the way.
    • 37 Metascore
    • 40 Noel Murray
    Hoge, who scripted and directed The United States Of Leland, caters to his cast too much. He gives almost every character a way-too-involved subplot, which distracts from the heart of his story.
    • 56 Metascore
    • 40 Noel Murray
    The result is a movie that feels both fussed-over and meaninglessly cruel.
    • 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.
    • 53 Metascore
    • 40 Noel Murray
    The energy of Workman's editing and the innate value of seeing the creative process play out makes House watchable.
    • 56 Metascore
    • 40 Noel Murray
    Nods at objectivity but announces its activist intentions throughout.
    • 45 Metascore
    • 40 Noel Murray
    Evergreen suffers from creeping indie-itis, epitomized by the low-light digital video and droning electric-guitar soundtrack, but its biggest weakness lies in Zentelis' apparent fear of surprise.
    • 56 Metascore
    • 40 Noel Murray
    As documentary drama, 39 Pounds Of Love is as ungainly, blunt, and icky as its title.
    • 51 Metascore
    • 40 Noel Murray
    Shelton seems so preoccupied with making Touchy Feely feel natural and real that she’s forgotten to add any incident.
    • 49 Metascore
    • 40 Noel Murray
    Harlan’s film—written by Vikram Weet—is a routine low-budget genre picture, with blandly attractive young actors overmatched by the freakiness lurking in the wilderness.
    • 32 Metascore
    • 40 Noel Murray
    It has a good heart and a good cast, mixing Hollywood veterans with some of today’s better young TV stars. But the movie is strenuously, exhaustingly unfunny, in a way that makes its phoniness harder to bear.
    • 42 Metascore
    • 40 Noel Murray
    Cold Turkey is well-acted, and at times even well-observed, but about 20 minutes of the material actually matters, and the rest is mere putter.
    • 64 Metascore
    • 40 Noel Murray
    As Laggies piles up one scene after another of Megan’s boyfriend and all her old high-school chums acting exaggeratedly square, the movie’s comic point of view becomes overpoweringly sour and predictable.
    • 47 Metascore
    • 40 Noel Murray
    There’s a sluggishness to The Returned throughout, attributable to generally weak acting and a plot that requires a lot of exposition.
    • 34 Metascore
    • 40 Noel Murray
    The Possession Of Michael King has its share of jolts, but it becomes exhausting down the stretch, and disappointing for its squandered potential.
    • 45 Metascore
    • 40 Noel Murray
    If About Alex were the pilot to a new television series, there’d be reason to stick around for a few episodes, if only to see these actors grow into their roles and develop more chemistry. But About Alex isn’t television, and Zwick never really solves the problem of how to make a houseful of semi-likable characters into cinema.
    • 43 Metascore
    • 40 Noel Murray
    A Good Marriage comes off as curiously flat for a movie about a woman who sleeps next to a murderer every night.
    • 37 Metascore
    • 33 Noel Murray
    The movie's more damnable problem is it irrelevance.
    • 48 Metascore
    • 33 Noel Murray
    Give Fitzgerald credit for ambition and good intentions, but for all its truth-to-power saber-rattling, 3 Needles is distressingly dim.
    • 45 Metascore
    • 33 Noel Murray
    It's a rare moment when the STORY makes the point, not the speeches.
    • 36 Metascore
    • 33 Noel Murray
    At one point, David Cross tells Gurwitch to enjoy being unemployed, because "When you're fired, you're interesting." But as Fired! proves, that ain't necessarily so.
    • 60 Metascore
    • 33 Noel Murray
    The faux-documentary aspect of Radiant City is a huge gamble that doesn't pay off. If anything, the movie's observations about the corrupting social influence of cluttered mall spaces get undercut by the fact that Burns and Brown feel the need to INVENT characters to prove their truth.
    • 47 Metascore
    • 33 Noel Murray
    The result is either one of the most self-indulgent vanity projects in the history of the Hollywood star system, or a rare revealing look at a distinguished actor who usually keeps his real self out of the spotlight.
    • 35 Metascore
    • 33 Noel Murray
    The characters Lehmann and company use as generational mouthpieces bear no relation to any people who have ever existed, and they barely work as parody.
    • 54 Metascore
    • 33 Noel Murray
    Mainly, Good Dick just proves that TV actors like Ritter make good indie-film hires, because they'll go along with whatever ridiculous nonsense a novice filmmaker concocts.
    • 19 Metascore
    • 33 Noel Murray
    In short, this is a movie about bruised people bruising each other, and if Downloading Nancy had more of an openly pulpy sensibility, then the repugnant premise might’ve had some lasting impact.
    • 60 Metascore
    • 33 Noel Murray
    It's neither conceptually bold nor slyly satirical when Billy dresses up as a Southern evangelical and sings made-up hymns about "the shopacalypse."
    • 32 Metascore
    • 33 Noel Murray
    This isn't really a movie made for audiences; it's for casting agents and studio execs, to show off one man's acting chops and his skill at writing dialogue.
    • 28 Metascore
    • 33 Noel Murray
    The film isn't erotic or profound. It is occasionally comic, though-like reading the finalists for one of those Bad Sex In Fiction awards.
    • 35 Metascore
    • 33 Noel Murray
    Salvation Boulevard doesn't seem to have any higher aspiration than illustrating how religious people can be hypocrites. (Gosh, who knew?)
    • 52 Metascore
    • 33 Noel Murray
    Seen as some kind of absurdist, meta-textual horror story, American Animal almost works. In every other way? It's fuckin' poopy-loopy.
    • 17 Metascore
    • 33 Noel Murray
    LaLiberte is the best thing about Girls Against Boys. She has an unforced coolness, even when Chick sticks her with sub-Quentin Tarantino business, like having a conversation about the nutritional value of Captain Crunch, or singing along to not one, but two Donovan songs.
    • 45 Metascore
    • 30 Noel Murray
    A series of third-act complications provides much-needed narrative surprise, but until then, The Three Marias is a disappointingly flavorless genre exercise.
    • 45 Metascore
    • 30 Noel Murray
    What this Singing Detective really needed was to be reworked top to bottom, preferably by a writer fleeing some demons of his own.
    • 46 Metascore
    • 30 Noel Murray
    Becomes hard going the longer Baur stretches out the parade of narcissists, all spouting received wisdom, cultural clichés, and bad poetry.
    • 29 Metascore
    • 30 Noel Murray
    An oafish bore.
    • 60 Metascore
    • 30 Noel Murray
    A series of non-answers isn't enough to build a documentary on, especially when they're strung together by insufferably self-congratulatory voiceover narration (de Ponfilly plays up his agony over whether documentary filmmaking helps or hurts its subjects) and corny stylistic effects.
    • 42 Metascore
    • 30 Noel Murray
    Reilly's appearance in Piggie amounts to little more than a cameo, but he's lively and real in ways that the rest of Bagnall's cast is not. It's the material's fault.
    • 63 Metascore
    • 30 Noel Murray
    She acts amazed by her own work, in hopes that we'll be too. To help the matter along, Lee underscores the action with a Mickey Mouse score, cutesy animation, and a relentlessly chipper tone. Her technique is pretty much everything that's wrong with documentary filmmaking today.
    • 38 Metascore
    • 30 Noel Murray
    The surrealism that dominates so much of Mr. Jones’ final stretch is admirably unusual, but it’s also confusing, and quickly becomes tedious.
    • 24 Metascore
    • 20 Noel Murray
    Their attempts at wit seem forced, and the overall point of each installment is too minor to spend nearly 30 minutes exploring.
    • 26 Metascore
    • 16 Noel Murray
    A movie about self-absorbed douchebags that wallows in their douchebaggery.
    • 33 Metascore
    • 10 Noel Murray
    Guttenberg adapts James Kirkwood Jr.'s humanist black comedy -- and drains all the recognizable humanity out of it, turning it into a morose, unlikable reflection of its sad-sack lead character.
    • 48 Metascore
    • 10 Noel Murray
    No movie that opens with the line "Time was never a friend to Bobby Long" could possibly be any good, and sure enough, A Love Song For Bobby Long lives down to its squibbed kickoff.