Miami Herald's Scores

  • Movies
  • TV
For 2,931 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Almost Famous
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
2,931 movie reviews
  1. This is a small, intimate movie bound to get lost in the holiday shuffle, but its pleasures are worth seeking out.
  2. An uncommonly playful fright machine -- a fun house factory of scares.
  3. On paper, it may sound like high-level calculus, but on screen, The Last Mimzy is perfectly charming. Like "Cocoon" for the elementary-school set, the box transforms Noah and Emma's lives.
  4. An exhilarating visualization of Alexandre Dumas' classic novel of betrayal and vengeance.
    • Miami Herald
  5. A sparkling exercise in movie cool.
  6. Love makes us do all kinds of crazy things, but in Crazy Love, crazy seems too mild a word.
  7. The Broken Circle Breakdown manages to pull off a small miracle, using joyous music and tenderness to tell a tragic story that moves you but doesn’t depress you.
  8. A brilliant film by Lynne Ramsay.
    • Miami Herald
  9. Wins you over with this bright sense of humor and its gentle, welcome message of tolerance and acceptance.
  10. The film, with its uniformly terrific cast, stern Gothic overtones and steady but measured pacing, is a crisp, old-fashioned delight, eschewing cheap tricks for repeated tiny pricks of unease that work up to a continuous gnawing dread.
  11. Shaped just like the murder-mystery its title promises, the documentary Who Killed the Electric Car? introduces us to the victim, then rounds up the suspects most likely responsible for its demise.
  12. It resonates with gleaming ferocity as it unspools a story of regret, longing and resolution in two generations of women.
  13. There are many nuances to My Mother's Smile, not all of them evenly told. Yet even when the conversations sound absurd, the film never fails to captivate.
  14. A funny and constantly surprising exercise in comic tension.
  15. Reminiscent of Showgirls minus the sex, nudity, sleaze, bad acting and horrible dancing, Burlesque is a typical A Star is Born story.
  16. A joyful romp, devoid of the tiresome pop-culture references.
  17. What makes Whatever Works so enjoyable, aside from the unusually high number of effective one-liners the script contains (this is Allen's funniest movie since Mighty Aphrodite), are its supporting characters.
  18. With its predictable confrontations and tacky fantasy sequences, you feel writer/director Jane Anderson steering the material toward schmaltzy movie-of-the-week territory at every turn.
  19. Black Book takes a brave, if odd, approach to a WWII historical drama, but one thing is certain: No one in the theater will be bored.
  20. The story is far from finished; the film can't help but feel like a bridge to its end. But the power of that partnership forged in "The Girl With the Dragon Tattoo" remains strong.
  21. Often grim, but never nihilistic: Even at its darkest, Dizdar gives the movie an optimistic bounce. The movie is often shockingly funny, too.
    • Miami Herald
  22. Not so much a thriller as an exploration of one man's crumbling moral compass.
  23. Guaranteed to beguile anyone who can remember the joy -- and agony -- of anticipating the first time.
    • Miami Herald
  24. Exhausting at times, frustrating in others, Magnolia is mostly just exhilarating, the product of a raw, vibrant talent finding his footing in an adult world -- and unafraid to make mistakes.
  25. There are a few surprises lurking in Cloverfield, and director Matt Reeves has an uncanny ability to time his jolts and scare when you least expect it.
  26. A slow-moving but heartfelt film.
  27. For anyone interested in the art of comedy, it's a veritable primer on the vagaries of humor.
  28. The movie asks tough, unflinching questions about America's responsibility to maintain world peace -- and the price we are willing to pay in order to accomplish that. Timely stuff, indeed.
  29. The most amazing magic yet for the wildly popular franchise: It is genuinely engrossing.
  30. Doesn't sugarcoat the painful realities of Alzheimer's or the difficult decisions faced by relatives of its victims, but by film's end, its clear-eyed melancholy winds up feeling strangely uplifting.
  31. The movie is funny and scary and touching in all the ways the best children's pictures are, but it is also fast and compact, running a perfectly paced 93 minutes (including credits).
  32. Not exactly a tour de force, but the film succeeds on the wattage of its stars.
  33. A quirky romantic comedy with a distinct and pleasing retro feel.
  34. Hunt gives this funny, touching movie its soul, and the actors elevate the material into something more resonant and memorable than the story promises.
  35. A brazen stunt that pays off. Writer-director Michel Hazanavicius, simultaneously channeling "Singin' in the Rain" and "A Star is Born," tells a story about 1920s Hollywood made in the style of that era.
  36. It is a stunning work that captures with elegance -- and touches of lyricism -- the challenge of finding the man through the artist.
  37. For all its cross-cultural hijinks, Japanese Story winds up as a tale about the fragility of human beings and the lasting strength of the bonds we form during times of crisis.
  38. The filmmakers capture enough of the book's essence -- and the power of its knockout, transcendent ending -- to more than justify the movie's existence.
  39. Nolan, who has become an assured, stylish filmmaker in the span of only a few films, keeps the complicated plot spinning.
  40. A mature, insightful and extremely well-acted study of a boy at a crossroads in his life, and a doomed, tortured man who, consciously or not, longs for some kind of redemption, before it's too late.
  41. Ratner is canny enough to close the movie with a devilish tease that will send the Lambs faithful out with a delirious smile. What Red Dragon won't do is haunt your nightmares. Who could have guessed Hannibal Lecter would ever become such a crack-up?
  42. If I hadn't seen the original, I might have gone ga-ga over Reeves' version. But even with the shock of novelty gone, the film still draws you into its chilly, demonic heart.
  43. You may not remember The Crazies in a month, but you'll have a grand time watching it.
  44. Touching.
  45. It's almost startling to see a film that believes in itself and its characters so deeply.
  46. One of the chief pleasures of My Week with Marilyn - which should not be approached as anything other than fluffy entertainment - is watching Williams bring to life Monroe's inner demons and her movie-star allure with equal aplomb. By the time the film's book-ending closing musical number comes around (That Old Black Magic), the illusion is astounding and complete.
  47. It turns out to be a satisfying, if occasionally wandering, adventure.
  48. Stranger Than Fiction may not be the typical crowd-pleaser, but it's a sweet, funny, intelligent film that showcases just how much Ferrell can do, even when he's doing less.
  49. ''Everything got a rhythm, even pulling cotton off the plant,'' a field hand offers helpfully. Like his eager young bluesman when he finally hits the stage, Sayles hits exactly the right notes.
  50. May not offer anything new, but in its well-tested premise, you can't fail to be seduced.
  51. Swinton single-handedly carries The Deep End past its nagging ambiguities.
  52. Precious without ever being cloying, All the Real Girls is a wise, delicate and immensely touching romance.
  53. A high-wire act of storytelling, tone and old-fashioned chutzpah.
  54. A wrenching film.
  55. It's a warm, skillful excavation of what look like ordinary lives, ones that aren't so simple once you dig a little deeper.
  56. Cynics may not fall for its melodrama, but Riding Alone is good for everyone else, including children.
  57. Screenwriter Shawn Slovo -- whose white parents were anti-apartheid activists in South Africa -- ends his finely tuned screenplay on a note not of violence and anger but of forgiveness. It's a breathtaking coda that reminds us of that undeniable human beauty: the ability to survive, to fight for right -- and then move peacefully on.
  58. Jackson's dazzling vision turns the story into a real movie-movie -- one that, unlike too many fantasy films today, is genuinely transporting.
  59. Although the movie never so much as flirts with melodrama, there is still a bittersweet undercurrent.
  60. Turns out to be a lot less tiresome than it sounds, aided by a wonderfully appealing cast and a strong message.
  61. Bergman's debut feature is tender yet disturbing, sad yet at times funny.
  62. La Promesse (The Promise) makes filmmaking look easy. The movie is deceptively simple, a tight little drama about guilt and conscience in which the creators' strings are completely invisible. It's fine storytelling in its purest form. [31 Jan. 1997, p.27G]
    • Miami Herald
  63. A mix of slapstick, melodrama and jaw-dropping stunts.
  64. This lively, infuriating and occasionally moving film certainly leaves you thinking, and there isn't a dead spot in it. That's the mark of a real filmmaker, not just a muckraker.
  65. Hardly the first of Woody Allen's love letters to the good old days, but it's a high-spirited, entertaining one, falling along the same lines as "Radio Days."
  66. It is to director Tykwer's credit that, although you never come close to understanding Jean-Baptiste, you don't turn your nose up at him, either.
  67. Don Jon is nominally a love triangle between a woman, a man and his laptop, but the movie is much more thoughtful and substantial than that, and it takes a compassionate and humane approach to all of its characters, even when they’re at their most despicable.
  68. Funny in the juvenile, crass way we expect.
  69. Never stops having its dark fun.
  70. By turns endearing and hilarious, Lilo & Stitch is proof the folks at Disney should break their own rules more often.
  71. The movie is wild, but not in the ways that you expect, and it’s also surprisingly chaste — you think you see a lot more than you actually do.
  72. The impact of Promises comes from the openness of the children.
  73. The Constant Gardener is difficult to watch, literally. Meirelles' lens leaps and jitters too much, as if it's anxious it might be bludgeoned to death, too.
  74. Shower is also a comedy -- but it's the movie's melancholy streak that is its strongest asset.
  75. Shot in the style of a documentary, which lends the movie an aura of utter realism, Maria Full of Grace derives an unsettling power from the clinical details of Maria's ordeal.
  76. Stoker is the sort of stylish, cerebral movie that engages your brain instead of your emotions, and yet you’re never less than intrigued by the breathtaking visual artistry of this slow-burn thriller.
  77. For this last chapter, the filmmakers play things relatively straight, resulting in the best Shrek movie to date.
  78. A crackling crime drama assembled from a scrap heap of hoary cliches, Takers proves that everything old can sometimes really be new again.
  79. There is nothing in this surprisingly funny, exciting film that feels like homework, and Branagh even dares to end the film on, if not quite a cliffhanger, then a daring "To Be Continued" note.
  80. Norton isn't the first guy who comes to mind when you think ''period piece,'' but he's starred in two such films this year (in addition to The Painted Veil, he stars in "The Illusionist"), and he is terrific in both.
  81. An uncommonly intense and frightening experience, The Conjuring is the first genuinely scary release in ages by a major studio that features practically no violence and spills only a bit of blood.
    • 77 Metascore
    • 75 Critic Score
    Some of the most riveting passages of the film are Harris slathering skeins of rich color, dipped fresh from cans of house paint, onto canvases stretched out on the floor.
  82. Focusing on the contestants who make the initial cut -- two men and two women -- the film can't resist wringing some American Idol-style suspense from speculation about who the eventual victor will be. But the movie also leaves no doubt as to who the real winners are.
  83. Rush is the kind of Hollywood studio production that has sadly become all too rare — a smart, exciting, R-rated entertainment for grown-ups that quickens your pulse and puts on a great show without ever insulting your intelligence.
  84. In The Shape of Things, love doesn't just hurt: It bites, and bites deep.
  85. May not reinvent the wheel, but its expertly delivered thrills would hit the spot at any time of year.
  86. It's the overriding spirit of the movie that forms its greatest appeal: Here's a movie that isn't intent on conquering the world but simply entertaining you for a breezy 90 minutes.
  87. This is a quiet, powerful film about the lengths we'll go to for the sake of the people we love - and the depths we'll sink to for the sake of the ones we hate.
  88. Bug
    Bug has an uncompromising, anything-goes daring: Friedkin, 71, has nothing to lose at this point, and he has made this low-budget, brazenly over-the-top picture strictly on his own terms.
  89. Lost and Delirious doesn't need metaphors for the power of strength and healing. All the passion and pain it needs glows ferociously in the eyes of its young women.
  90. Being Julia is really about the fear of aging and the battle to remain relevant professionally and sexually.
  91. This is the sort of small, intimate movie that, if it had been made on a low budget by independent actors, would be celebrated to the skies.
  92. The creative vigor of its originality, distilled in a pure and unadulterated form, is simply exhilarating.
  93. Made with an unerring visual dazzle -- its dark corners are shadowy, deep and melancholy, its brilliant seascapes the sparkling embodiment of why we must all find a reason to carry on.
  94. Never has the sight of naked women been so innocent.
  95. Dark, grim and exciting entertainment.
  96. A manic and at times surprising comedy that has more imagination and creativity than all the Transformers pictures combined.
  97. The film isn't as concerned with terrifying you as it is with showing you a good time, culminating with an over-the-top climax that is simultaneously utterly ridiculous and enjoyable.
  98. Elysium, the second movie from writer-director Neill Blomkamp, isn’t quite as inventive or fresh as his knockout debut, 2009’s "District 9." But the new picture is cut from the same cloth — furiously exciting sci-fi, carefully considered and loaded with allegories and social commentary.
  99. For those with the patience to latch onto Van Sant's slow, methodical groove. It's worth trying.

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