For 1,483 reviews, this critic has graded:
  • 53% higher than the average critic
  • 8% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 0.4 points higher than other critics. (0-100 point scale)

Noel Murray's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 A Christmas Story
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
1483 movie reviews
    • 19 Metascore
    • 30 Noel Murray
    At every turn in Speed Kills, director Jodi Scurfield and a team of screenwriters sand the edges off a complicated, multi-decade saga, making a featureless knockoff of seemingly every sweeping true-crime movie of the past three decades.
    • tbd Metascore
    • 30 Noel Murray
    Strong lead performances by Aaron Paul and Emily Ratajkowski are squandered in Welcome Home, a low-tension suspense picture with pretensions of saying something profound about broken relationships.
    • 69 Metascore
    • 60 Noel Murray
    Cam
    On a narrative level, Mazzei and Goldhaber don’t come up with enough ideas for how to capitalize on their hooky premise. But on a character level? The filmmakers and Brewer capture the mounting existential anxiety of a woman who’s constructed an entire identity on-line and is horrified to see that it can keep on living without her.
    • 49 Metascore
    • 60 Noel Murray
    While the story’s a little shaky, Poots is outstanding; and de Fontenay has a terrific eye for the details of a drifter’s life, shuffling from hovel to hovel, never able to scrape up enough cash to sleep comfortably.
    • 58 Metascore
    • 60 Noel Murray
    Skiles keeps the film’s pacing slow, which at times builds tension, at times makes everything feel more off-kilter, and at times is … well, just slow. Mostly the director and his superb cast use the extra time to explore the nuances of Ford’s tale of sick compulsions and social pressures.
    • 26 Metascore
    • 30 Noel Murray
    Raising awareness of social injustice is a good goal, but not enough to hold an audience’s attention.
    • 53 Metascore
    • 50 Noel Murray
    The cast is terrific, and kudos to Boyd for including some specifics about how 20-something Angelenos hook up in the 2010s. But there’s just not enough that’s new here — either in what’s being said, or how.
    • 44 Metascore
    • 50 Noel Murray
    Palmer is a firecracker as the heroine, a young woman who has to prove she’s as hard — and consequently, as misogynist — as any man.
    • 45 Metascore
    • 60 Noel Murray
    Like Agnès Varda’s similar 1962 French New Wave classic “Cléo From 5 to 7,” the thoughtful Here and Now uses one woman’s sudden awareness of her own mortality as an excuse to focus intently on the many moments of intense emotion that make up a day in the big city.
    • tbd Metascore
    • 70 Noel Murray
    Mostly, it’s impressive how Bowler reimagines his own Oscar-nominated 2011 short film. He takes his original idea of using time-travel as a kind of metaphysical Photoshop and seriously thinks through how it would work — and whether it’s possible to have a “happy ending” when revision is always an option.
    • tbd Metascore
    • 50 Noel Murray
    The movie’s too slow at the start and somewhat befuddling at the end, but for the most part it’s a haunting, poignant portrait of one woman’s Kafkaesque nightmare.
    • 63 Metascore
    • 50 Noel Murray
    Mostly, this is a whirlwind trip through the origins of a phenomenon, with an eye toward explaining how America could find these ladies at once sexy and wholesome. The answer? Hey man, it was the ‘70s.
    • 58 Metascore
    • 50 Noel Murray
    The movie is pretty lightweight — disemboweling aside — but has a fair amount of punch, and it could appeal to connoisseurs of self-conscious pulp.
    • 68 Metascore
    • 70 Noel Murray
    Perhaps the best use of Caldwell and Earl’s limited budget is their cast, which also includes Andre Royo and Anwan Glover as dangerous men. They help keep “Prospect” from becoming a gimmicky mash-up and make it more a study of real people just trying to get by far from civilization.
    • tbd Metascore
    • 50 Noel Murray
    The cast is talented, the direction is fairly crisp and the dialogue isn’t stiff. When the people who made this movie move on to something better, they’ll have no reason to be embarrassed by where they started.
    • 52 Metascore
    • 70 Noel Murray
    The Dark clicks (which is often), it’s a moving and poetic tale about how neglect and abuse can turn people into freaky beasts, and how love can bring them back.
    • 43 Metascore
    • 40 Noel Murray
    The idea of human memory as a kind of time machine is powerful, and writer-director David Gleeson and his co-writer Ronan Blaney make it pay it off well in their movie’s final 10 minutes. It’s the preceding 80 that are the problem.
    • tbd Metascore
    • 30 Noel Murray
    Clumsy and corny, the film plays like a pat showbiz cautionary tale, half-heartedly reworked into lurid pulp.
    • 57 Metascore
    • 60 Noel Murray
    Director Mélanie Laurent and actors Ben Foster and Elle Fanning bring some seedy poetry to Galveston, a muted crime drama that runs out of plot too soon, but makes up for it with powerhouse performances and a finely shaded sense of place.
    • 47 Metascore
    • 40 Noel Murray
    Well-made but generic, the thriller The Super is noteworthy primarily for featuring one of Val Kilmer’s first substantial roles since recovering from throat cancer. Director Stephan Rick works around the actor’s infirmities, but Kilmer’s offbeat charisma remains unmistakable.
    • tbd Metascore
    • 40 Noel Murray
    The movie’s artier components are imbued with enough heart and poetry to hold the picture together — just barely — through the more tedious stretches.
    • tbd Metascore
    • 40 Noel Murray
    Bernstein stages a few good, tense moments in the film’s second half — in particular a skate-chase scene on an iced-over stream — but Look Away mostly fails as a “killer teen” movie. The pace is too slow, and the mood too somber.
    • tbd Metascore
    • 40 Noel Murray
    An accomplished cast does what it can to bring the material to life, but it’s tough to add fine emotional shading to characters so thick and cartoonish.
    • 31 Metascore
    • 50 Noel Murray
    Once all the pieces are in place, the film becomes a more conventional and less interesting thriller, with a single violent villain the heroes have to overcome.
    • tbd Metascore
    • 30 Noel Murray
    If nothing else, The Church proves something: Better an amusingly terrible, eye-catching horror movie than a slick, nondescript, boring one.
    • 36 Metascore
    • 40 Noel Murray
    This picture tries to encompass many ideas: about loyalty, the lust for fame and the slippery slope of immoral behavior. All of that is in the film. It just hasn’t been put in any particular order.
    • 45 Metascore
    • 40 Noel Murray
    Ultimately, Ride feels a little like a drama class exercise, with the leads digging deep into their characters’ motivations and feelings. All three nail their parts. But their story never gets out of first gear.
    • 57 Metascore
    • 50 Noel Murray
    For the most part, this is a tautly constructed exercise in suspense, set among striking-looking snowbound fields and farmhouses. It’s a vivid slice-of-life, even before the literal slicing begins.
    • 25 Metascore
    • 30 Noel Murray
    Hell Fest has exactly one genuinely nail-biting scene.... Otherwise, the movie does little to update, subvert, or comment on the trappings of classic thrillers like “The Funhouse” and “Halloween.”
    • tbd Metascore
    • 30 Noel Murray
    Writer-director Nathaniel Atcheson has found a clever way to tell a lot of story without many resources — although the end result is still more exhausting than enticing.

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