Miami Herald's Scores

  • Movies
  • TV
For 3,331 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Moonlight
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
3331 movie reviews
  1. Despite the great care and research that went into the movie, Frost/Nixon pales in comparison to Oliver Stone's "Nixon" when it comes to humanizing the infamous leader.
  2. The first Hollywood horror flick I've seen that seems like it was made specifically for 12-year-olds.
  3. A well-acted, well-crafted but excruciatingly tepid romantic film about a subject that will attract poetry lovers and yet test even their considerable patience.
  4. I will tell you what The Village is not: It is not scary. It is not all that interesting. It isn't even much of a movie.
  5. Unfortunately, The Island grows dumber as it goes along, gradually disintegrating into a generic good-versus-evil spectacular that not only defies all known laws of gravity and physics, but also suffers from the lack of morality that plagues Bay's films.
  6. Overdone performances mar the fine ones -- (Turturro) has become, alas, a hambone.
    • Miami Herald
  7. For all its Buck Rogers-style derring-do, gorgeous vistas of an Art Deco New York and sepia-toned cinematography, Sky Captain is a static, uninvolving experience.
  8. The idea of cracking a secret message from the enemy during war is thrilling; making the process interesting to watch is more problematic.
  9. Corny? You bet. But it also proves surprisingly inviting -- for a while, anyway.
    • Miami Herald
  10. Chan's string of chop-socky films were never boring. Shanghai Noon is.
  11. This is certainly not a movie worth going out of your way for, but don't be surprised if you happen to come across it on cable one rainy Sunday afternoon and find yourself watching it to the end. Even Lopez pulls off a few good moments.
  12. Yes, it's all pretty silly. But for those who can stand the annoyance of the cardboard glasses, there are worse ways to kill a hot afternoon. [23 July 1983, p.D6]
    • Miami Herald
  13. A surprisingly sappy misfire from brothers Jay and Mark Duplass, a hug-it-out, touchy-feely movie that succumbs to the maudlin sentimentality they had avoided in all their previous pictures (The Puffy Chair, Baghead, Cyrus).
  14. Start with a heaping helping of "Buffy the Vampire Slayer." Throw in some "Percy Jackson," a dash of "Twilight," a spoonful of "The Vampire Diaries" and a sprinkling of "Harry Potter," and you end up with The Mortal Instruments: City of Bones.
  15. Heartburn doesn't have enough good inside semi-fiction to be of much interest to the Washington cognoscenti, and it's not enough of a movie to stay in the memory of the outside-the-beltway crowd more than an hour or two. What it is is a chance to see our two most celebrated actors at work for a while between films. [25 July 1986, p.D1]
    • Miami Herald
  16. Time Regained is not really worth the time it takes to see it.
  17. It's only near the end, when Romanek sets out to release the tremendous tension he's built up, that One Hour Photo loses its bearings.
  18. As a film, though, Gimme Shelter is unremarkable, a predictable story of redemption that happens awfully fast, to a girl who only seems to be in peril briefly — and has a rich dad to bail her out.
  19. The good news is the updated version is scarier than the original, thanks to snazzier special effects, a shorter running time, moody lighting, a few solid jolts and one icky moment involving a bratty babysitter and a closet. The bad news is the film rehashes every horror movie cliché you can imagine.
  20. The movie is so grand in scale that you can’t help surrender to the spectacle, even if the stuff that’s going on with the people in the film is often close to risible.
  21. While the story starts tying up its loose ends nicely, as the end approaches, the film turns flat. It's a disappointment.
  22. What saves Fly Me to the Moon from being a total wash is the actual mission itself.
  23. The real love affair in For Love of the Game is between Costner and himself.
    • Miami Herald
  24. The phrase “casting is everything” has never felt truer than it does with 2 Guns, an unremarkable, standard-issue shoot-em-up that rests entirely on the charisma of its two stars.
  25. You expect something far different and better than the same-old.
  26. You should know right up front that even if you realize you're being manipulated you are probably going to weep anyway.
  27. A loud and relentlessly overstated B-movie, and yet not entirely stupid.
  28. Neither scary nor thrilling, although it's reasonably entertaining despite an abundance of haunted-house clichés, the usual inexplicable scary-movie behavior and an almost-naked John Hurt.
  29. The fact that License to Wed isn't as unbearable as its trailers make it look doesn't mean it's good. It's not. It's just another mediocre addition -- worse than the best sitcoms, better than the worst.
  30. Because it's Pacino, though, Simone is never quite boring.
  31. Stops dead the second the monsters fall out of view. It doesn't help that the movie's post-apocalyptic future is of the unimaginative backlot variety, or that the movie takes itself so seriously.
  32. If Magic Mike XXL is bulging with anything, it’s inane conversation.
    • 48 Metascore
    • 50 Critic Score
    Who would have thought one of the best things about the new Farrelly brothers' movie is a cameo by Tony Robbins?
  33. It's like watching "The Treasure of Sierra Madre" as remade by "Nightline."
  34. The movie's hokey mysticism and heaving melancholy is closer in spirit to a solemn Hallmark greeting card.
  35. A good story, but its potential is never realized.
  36. The film relies a bit too much on the humor of older women flipping each other off and mouthing obscenities, although it is hilarious to see the usually proper Smith frantically chopping up a roofie to slip into Sidda's drink.
  37. Annie DeSalvo, a first-time director and screenwriter, can't escape the made-for-TV feel but does manage to give her cast, mostly once-big names fallen from grace and popularity, flashes of humanity between lessons about various saints and sermons disguised as dialogue.
    • Miami Herald
  38. What you'll remember most are a pretty face and the hot and steamy sex scenes. That is not enough.
    • Miami Herald
  39. You come away from the movie lamenting the missed opportunity and wondering what a stronger, bolder filmmaker would have done with this material.
  40. The Mummy was certainly no "Raiders," but as far as summer movies go, it was just good enough.
    • Miami Herald
  41. I respected The Beaver for having the conviction to treat mental illness seriously and without compromise. But did it have to be so maudlin, too?
  42. Feels like the shell of a wonderful story.
    • Miami Herald
  43. Night and the City is the most disappointing big- expectations movie of 1992. It's hard to overstate the magnitude of its failures. There is almost nothing right about it. [23 Oct 1992, p.G5]
    • Miami Herald
  44. A little like a secular, more sophisticated "Touched by an Angel" episode.
    • Miami Herald
    • 61 Metascore
    • 50 Critic Score
    A slice of '40s-vintage, small town Mississippi life, full of laughs and sweetness and a sorrow that may send more sensitive little ones home crying.
  45. Despite Fanda's shenanigans, and many are out-loud funny, Autumn Spring is not that uplifting though it isn't a downer, either. It's more an ode to friendship and marriage.
  46. It's fitting. Valentin and Jane may be awakening from life's slumber, but mostly they're just putting us to sleep.
  47. The Cotton Club never seems to go anywhere, so that we are caught up short when it seems to have gotten somewhere. Then it's over, finished in Hines' blaze of glory, and a few minutes later one wonders what one has seen. It's big and colorful and terribly thin. [14 Dec 1984, p.E18]
    • Miami Herald
  48. Mostly due to luminous writing, Baxter's novel evoked a sense of magic, but this Feast, though never completely uninteresting, leaves you hungry for enchantment.
  49. Race never delves under the skins of its characters, because they’re intended to be used only as symbols — reminders of an important chapter in history rendered quaint by this noble but patronizing movie.
  50. A surprisingly straightforward romp in slasher-flick cliches, Friday the 13th is replete with gee-whiz gore, gratuitous sex and nudity and party-loving teens with a penchant for ending up on the wrong end of a pick ax.
  51. House of Fools is not in the category of the director's acclaimed "Runaway Train." It may be based on a true story, but another filmmaker told it before -- and better.
  52. Together (Hunter/Murphy) they're actually sort of fun to watch, and it's amusing to realize, not quite halfway through the film, that its most potent chemistry exists between them.
  53. It's crisp, efficient, well-made and strangely, vaguely dull.
  54. The real Guerin deserves a more complete cinematic tribute.
  55. This movie couldn’t be more fantastical if dragons swooped down and incinerated London, Paris and the south of France.
  56. Yes, it creaks. It creaks mightily. But The Net cheerfully plugs along, asking you to swallow one whopper after the next without burping. [28 July 1995, p.6G]
    • Miami Herald
    • 40 Metascore
    • 50 Critic Score
    Fletch Lives passes over you like most Chevy Chase movies. You chuckle, maybe laugh, and afterward forget the whole thing. [17 March 1989, p.10]
    • Miami Herald
  57. It's a disappointing chapter in what until now has been a highly entertaining, even thought-provoking series.
  58. Depp isn’t doing anything different here than he did in "Dark Shadows" or "Alice in Wonderland" or the "Pirates of the Caribbean" movies. Once again, he’s unrecognizable under elaborate makeup and prosthetics, and he speaks with a peculiar voice (this time a thick South Boston accent).
  59. In post-"Wedding Crashers" Hollywood, the entire exercise feels dated (just as the comedy's PG-13 rating -- this in spite of a recurring rape joke -- makes it feel neutered).
  60. While there are some genuinely creepy moments, it never truly ends up as more than an average "X-Files" episode.
  61. Sweet but colossally dull relationship movie.
    • Miami Herald
  62. Steven Soderbergh has been telling interviewers that he's planning to take a sabbatical from filmmaking because he has lost his inspiration. His lack of interest is palpable in Haywire, a rote exercise in action filmmaking that is sleek and polished and instantly evaporates from memory.
  63. Won't surprise you, but it's more tolerable than the grating, garish, millinery-challenged Cat. Besides, a cadaverous Terence Stamp trumps a glossy Alec Baldwin as a bad guy any day.
  64. By the time Ceremony reaches its admittedly clever finale, you're too wrung out from Angarano's tiresome antics and Winkler's unconvincing dialogue to care who ends up marrying whom.
  65. The Sentinel isn't nearly as slick as it must have looked on the page. Those zingers are perfect fodder for a movie preview, but they just don't lead anywhere interesting on-screen.
  66. The movie is polished, well-acted and atmospheric, but still pure formula, and not very scary, either.
  67. The overwhelming sensation of deja vu is exhausting and disorienting. You really HAVE seen it all before.
  68. The Jungle Book has its moments — the panther Bagheera voiced by Ben Kingsley, the python Kaa voiced by Scarlett Johansson and a funny porcupine voiced by the late Garry Shandling are all memorable creations — but the overall film feels cold and mechanical, befitting a movie that was made primarily because technology made it possible.
  69. Something Borrowed commits the most fatal mistake of all: Its characters are so deeply uninteresting that the audience can't get invested in their eventual happiness.
  70. There was, however, another question the screenwriter should have asked: Why does the script focus on the wrong couple?
  71. An impeccably shot, studiously staged, passionately acted bore, one of those curious fizzles in which everyone seems to do everything right, but the film simply refuses to take off.
  72. Soon settles down into a drizzle of steady mediocrity, never living up to all the frenzy of those first few moments.
  73. Ihave it on good authority that Pat Conroy's The Prince of Tides is a wonderful book. People rave about it. But Barbra Streisand's lumbering, tearjerker adaptation gives little hint of that. This movie is long and full of pain, and it's driven by the most syrupy musical score I can recall. [25 Dec 1991, p.1]
    • Miami Herald
  74. Once in a great while, a film of insight and wisdom defines a generation. Step Up is not that film. Instead, it's the sort of mildly entertaining movie that comes along a couple of times a year.
  75. After an exciting high-speed car chase reminiscent of the Mad Max pictures, The Rover settles into a two-character drama between Eric and Rey, but Pearce is so one-note that their relationship is never engaging.
  76. Assassination Tango offers little heat. In dancing with death, Duvall stumbles a few too many times.
  77. With all the obvious work that went into this beautifully detailed, giant-scale movie, and considering the historical importance of the subject matter, was it too much to ask for a trace of intelligence, or maturity, or even insight?
    • Miami Herald
  78. By flaunting its own stupidity, The Ten practically dares you not to laugh at it, like a stand-up comic who sells an unfunny joke through the ferocity of his delivery.
  79. Even the women in Festival in Cannes feel more like sketches than fully realized people -- the aging actress, the naive hopeful, the newly minted starlet -- leaving you nothing but the showbiz satire to chew on.
  80. Monsters University feels half-hearted and lazy, like they weren’t even trying. At least show a little effort, guys.
  81. Just one more in the plague of weak Cinderella stories released in the past year. It's too sugary to be good for you, but in the end, its over-the-top sweetness won't kill you.
  82. Kenan Thompson may not look the part, but he's instantly likeable as Fat Albert.
  83. Little Ashes succumbs to the dreaded Masterpiece Theater syndrome as a talky historical drama weighed down by self-importance.
  84. The kind of movie that rockets so far beyond the line of credibility and so deeply into the realm of utter stupidity, you start to wonder if the filmmakers aren't putting you on.
  85. Assange is a compelling figure that merited a better effort.
  86. Mostly, by story's end, we're just glad they and their unfortunate clothing are out of our sight for good.
  87. The lack of cynicism is refreshing, but someone needed to tell Redford pixie dust and a nine-iron will only get you so far.
  88. The fight sequences are well handled, the three leads are pleasant (and quite good, it seems, at the martial arts) and the violence is bloodless and amusing, with all kinds of cartoon sound effects thrown in to soften the chop-socky violence. If the audience at a sold-out Saturday afternoon showing I attended is any indication, 3 Ninjas delivers the promised action-packed, empty-headed goods. As long as your age is still in the single digits, that is. [10 Aug 1992, p.C6]
    • Miami Herald
  89. It's a formula and hard to describe as good in any artistic sense, but the viewers who pay to see it -- and many, many people are going to -- will get exactly what they want.
  90. Aside from its period New Zealand setting, there is little to distinguish Bride Flight from something you might watch briefly on Lifetime, then change the channel.
  91. At least The Game Plan does have Johnson, whose innate charisma will make it easier for adult viewers to endure the film without ruing the decision to make a family outing to the multiplex.
    • 50 Metascore
    • 50 Critic Score
    Good for some giggles. Especially if you're under the age of, oh, 8 or so.
  92. Its failure to be extraordinary is thus all the more cutting, and its redundancy all the more unforgivable.
  93. The body part joke to alien joke ratio seems slightly skewed in favor of the former, which makes the humor more than a little repetitive. How many different ways can one film say: "Men are idiots"?
  94. A splashy, silly movie that inexplicably stars Jeremy Irons but will delight 10-year-old boys across the realm. Regrettably, the hordes of pre-adolescent boys it would have delighted most were that age 20 years ago.
    • Miami Herald
  95. New Year's Eve is not unbearable. It's not bad, but it's not good, either. It delivers exactly what you expect: pretty faces, shallow romance and a mythical fanaticism about an event in a friendly Manhattan unblemished by hyper-vigilant security measures, obnoxious drunks or New York Jets fans.
  96. We get the feeling that whatever it is Scorsese and Price have to say about these marvelous characters, it is not anything very interesting.

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