Noel Murray Movie Reviews & Previews - Rotten Tomatoes

Noel Murray

Noel Murray
Noel Murray's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
57% Chasing Trane: The John Coltrane Documentary (2017) "Chasing Trane: The John Coltrane Documentary" ought to appeal to longtime fans as well as neophytes.‐ Los Angeles Times
Read More | Posted Apr 20, 2017
No Score Yet Altitude (2017) The cast is game and the pace blessedly zippy, but everything about this film feels too fake to generate any real suspense.‐ Los Angeles Times
Read More | Posted Apr 13, 2017
100% Vince Giordano: There's a Future in the Past (2017) "There's a Future in the Past" is equally balanced between its smoking-hot live performances, interviews and day-in-the-life footage.‐ Los Angeles Times
Read More | Posted Apr 13, 2017
79% The Case for Christ (2017) Give credit to the filmmakers for making a faith-affirming picture that aims to be more thoughtful than maudlin. But what they've ended up with is a fairly rote Christian redemption narrative - albeit with more charts and graphs.‐ Los Angeles Times
Read More | Posted Apr 7, 2017
No Score Yet The Eyes (2017) A talky, set-bound drama masquerading as a suspense picture, and nearly the entire movie consists of overwritten, overacted, visually inert confrontations and monologues.‐ Los Angeles Times
Read More | Posted Apr 6, 2017
33% Bethany (2017) "Bethany" is polished, well-acted and filled with memorably disgusting images, but its portrait of a frazzled adult survivor of child abuse is ultimately formulaic and a little sleazy.‐ Los Angeles Times
Read More | Posted Apr 6, 2017
74% The Void (2017) A lively, layered throwback to the days when splatter auteurs like John Carpenter, George Romero and Lucio Fulci ruled the drive-in.‐ Los Angeles Times
Read More | Posted Apr 6, 2017
No Score Yet Fare (2016) Forced character-arc aside ... 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.‐ Los Angeles Times
Read More | Posted Mar 30, 2017
55% Here Alone (2017) This is the first act of a better movie, stretched to fill a feature.‐ Los Angeles Times
Read More | Posted Mar 30, 2017
73% The Blackcoat's Daughter (February) (2017) "The Blackcoat's Daughter" connects the pieces and ends strongly, though Perkins smartly spends more creative energy on crafting creepy situations than on pointing toward the payoff.‐ Los Angeles Times
Read More | Posted Mar 30, 2017
79% Dig Two Graves (2017) There's a lived-in quality to "Dig Two Graves" that's all-too-rare for low-budget movies in this genre.‐ Los Angeles Times
Read More | Posted Mar 23, 2017
95% Prevenge (2017) This movie won't be for everybody, but fans of Lowe's prior work should be thrilled to see such a distilled dose of her perverse humor.‐ Los Angeles Times
Read More | Posted Mar 23, 2017
94% The Devil's Candy (2017) What makes "The Devil's Candy" a standout is how well-developed these characters are. This is ultimately a movie about parenting, and how even "hip" moms and dads fear the choices they make are hurting their young.‐ Los Angeles Times
Read More | Posted Mar 16, 2017
88% My Scientology Movie (2017) Theroux raises troubling questions about psychological warfare and how devoutness shades into fanaticism.‐ Los Angeles Times
Read More | Posted Mar 9, 2017
100% Don't Kill It (2017) 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.‐ Los Angeles Times
Read More | Posted Mar 3, 2017
33% Lavender (2017) "Lavender" means well, but it ultimately proves that not all ghosts need a backstory. Often, just being scary - even inexplicably - is more important than being meaningful.‐ Los Angeles Times
Read More | Posted Mar 2, 2017
22% Collide (2017) A flatly earnest Hoult and Jones are hamstrung by drippy dialogue, while Kingsley and Hopkins overplay their more colorful parts - with the former doing a cartoonish Turkish accent and the latter delivering lines with strange emphasis.‐ Los Angeles Times
Read More | Posted Feb 24, 2017
44% Drifter (2017) There's a level of wild B-movie ambition here that's preferable to the usual blandly violent, overly serious genre fare. If nothing else, Von Hoffman clearly has a voice - even if his accents are imitations.‐ Los Angeles Times
Read More | Posted Feb 23, 2017
33% VooDoo (2017) Strong lead performances and a startling twist juice up the found-footage exercise "VooDoo," which squeezes unexpected novelty from an exhausted subgenre.‐ Los Angeles Times
Read More | Posted Feb 16, 2017
75% Stray Bullets (2017) The auteur's age, precociousness and pedigree automatically make "Stray Bullets" an item of interest, although fans of the Fessenden clan will be pleased to know that the movie's also pretty entertaining and only a little bit amateurish.‐ Los Angeles Times
Read More | Posted Feb 9, 2017
No Score Yet Bornless Ones (2017) While writer-director Alexander Babaev's "Bornless Ones" doesn't do anything radically new, it deepens its characters and situations enough to be distinctive.‐ Los Angeles Times
Read More | Posted Feb 9, 2017
71% Road to the Well (2016) Though a little meandering, Road to the Well has flavorful dialogue, and a sense of scope that's rare for a movie about betrayal and murder.‐ Los Angeles Times
Read More | Posted Feb 7, 2017
0% Eloise (2017) The plot of "Eloise" is more ambitious than the typical "haunted asylum" picture, but the retro costumes and set-dressing in the flashbacks belong more to a TV drama than a low-budget thriller.‐ Los Angeles Times
Read More | Posted Feb 2, 2017
31% Don't Knock Twice (2017) A warmed-over hash of "Candyman," "Oculus," "Insidious" and a half-dozen other spook-shows.‐ Los Angeles Times
Read More | Posted Feb 2, 2017
B 73% This Is Everything: Gigi Gorgeous (2017) A vivid picture of modern life, and an inspiring tale about how a more tolerant family-and society-can make it easier for people to be themselves rather than negating themselves.‐ AV Club
Read More | Posted Jan 31, 2017
B+ 75% Manifesto (2016) Julian Rosefeldt's visual panache and Cate Blanchett's astonishing versatility bring cinematic verve to something that could've easily come off as too dryly conceptual.‐ The Playlist
Read More | Posted Jan 27, 2017
B 60% Newness (2017) The central theme of "Newness" isn't as profound or even as novel as either the filmmakers or their millennial target audience may believe. But at it's best, "Newness" is about how nothing's really all that new.‐ The Playlist
Read More | Posted Jan 27, 2017
B 66% I Am Michael (2017) Franco never plays this character as hurt or vindictive. Right to the end, he's earnestly seeking, determined not to be slapped with any label, and willing to risk being totally alone.‐ AV Club
Read More | Posted Jan 25, 2017
C- 67% Golden Exits (2017) No doubt Alex Ross Perry will follow up the film with a strong return to form, but this film is a collection of half-realized ideas and characters.‐ The Playlist
Read More | Posted Jan 23, 2017
B- 40% Wilson (2017) "Sweet and occasionally riotously funny, but it treats the material too simplistically. ‐ The Playlist
Read More | Posted Jan 23, 2017
A- 92% A Ghost Story (2017) "Absolutely mesmerizing, with an anything-goes quality that's endlessly fascinating."‐ The Playlist
Read More | Posted Jan 23, 2017
B+ 83% Wind River (2017) Taylor Sheridan pares his story and characters down to their barest essentials, making a movie that comes off sometimes as slight, but which ultimately delivers the goods for those who like smart takes on life-or-death macho adventure.‐ The Playlist
Read More | Posted Jan 22, 2017
B+ 97% The Big Sick (2017) Zoe Kazan can transform even the most stock role into something indelible.‐ The Playlist
Read More | Posted Jan 22, 2017
B- 76% Landline (2017) The performances are all outstanding, but the comedy is hit-and-miss.‐ The Playlist
Read More | Posted Jan 22, 2017
B 80% Berlin Syndrome (2017) Some might find the subject matter too bleak; others might wish it were pulpier. But on the whole, "Berlin Syndrome" is incredibly effective. It gets to know the innocent, while rendering the evil banal.‐ The Playlist
Read More | Posted Jan 22, 2017
B+ 56% L.A. Times (2017) A funny, Woody Allen-esque look at Hollywood singledom from a sophisticated female perspective.‐ The Playlist
Read More | Posted Jan 21, 2017
C+ 47% Person to Person (2017) A terrific cast, but underbaked on the whole.‐ The Playlist
Read More | Posted Jan 20, 2017
B 86% The Little Hours (2017) Weirdly admirable... like a laid-back, stretched-out Monty Python sketch.‐ The Playlist
Read More | Posted Jan 20, 2017
No Score Yet The Axe Murders of Villisca (2017) "The Axe Murders of Villisca" never really comes to much, perhaps because its focus is too diffuse. The scares are low, and the plot under-baked.‐ Los Angeles Times
Read More | Posted Jan 19, 2017
A- 100% Starless Dreams (Royahaye dame sobh) (2017) There's nothing especially new about jailhouse confessionals. What sets Starless Dreams apart are the particulars of who these crooks are.‐ AV Club
Read More | Posted Jan 17, 2017
No Score Yet The Snare (2017) "The Snare" is admirably artful and oblique in putting its own twist on the haunted-house story, but it's derivative of much better psychological suspense films and is obnoxiously unpleasant to boot.‐ Los Angeles Times
Read More | Posted Jan 12, 2017
74% We Are the Flesh (Tenemos la carne) (2017) There's genuine artistry even to this film's most exploitative moments.‐ Los Angeles Times
Read More | Posted Jan 12, 2017
50% Attack of the Lederhosen Zombies (2017) Although Austrian writer/director Dominik Hartl has the right spirit for his alpine ghoul-fest, he ultimately lacks the material to generate more than mild amusement.‐ Los Angeles Times
Read More | Posted Jan 12, 2017
20% Pitchfork (2017) Mostly stays within the narrow parameters of the "knocking off generically attractive youngsters one-by-one" movie, never getting campy enough, bizarre enough or satirical enough.‐ Los Angeles Times
Read More | Posted Jan 5, 2017
86% The Autopsy of Jane Doe (2016) Even when the movie's falling into a straighter line, the early emphasis on quietly nuanced characterizations and a measured pace give the danger more dimension.‐ Los Angeles Times
Read More | Posted Jan 5, 2017
B 87% A Monster Calls (2017) Every time the narrative seems to be headed toward some pat, sentimental revelation about loss and healing, it lands just a little off-center, avoiding predictability.‐ AV Club
Read More | Posted Dec 19, 2016
No Score Yet City of Dead Men (2016) It seems to want to be an artful social statement when it might have been better had it been trashier and more overtly terrifying - more "Hostel" than "City of God."‐ Los Angeles Times
Read More | Posted Dec 15, 2016
24% Solace (2016) As leftovers go, "Solace" retains a fair amount of flavor, thanks to high-end ingredients.‐ Los Angeles Times
Read More | Posted Dec 15, 2016
A- 100% The Bad Kids (2016) One of the major points The Bad Kids makes is that most "problem students" have common struggles that could be managed with the individualized attention that big public high schools can't provide.‐ AV Club
Read More | Posted Dec 15, 2016
32% Abattoir (2016) The inexplicability of "Abattoir" keeps it engaging for a while, but by the time it hits the one-hour mark without anything even remotely exciting happening, even a horror connoisseur's patience will run thin.‐ Los Angeles Times
Read More | Posted Dec 8, 2016