Miami Herald's Scores

  • Movies
  • TV
For 2,888 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 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inglourious Basterds
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
2,888 movie reviews
  1. This is speculative, heady stuff, far removed from traditional Hollywood summer entertainment, which alone will earn A.I. a devoted following.
  2. Lacks emotional depth and sweep -- but the movie still delivers the type of rousing, large-scale adventure that marked the best films of its kind
    • Miami Herald
  3. Strikes out toward freakishly original territory after all. Fans of the off-beat, your movie has arrived.
  4. Where Traffic stumbles is in its inability to engage the heart with the same fervor it engages the intellect.
  5. McGrath has managed to turn Dickens into a cozy date movie. When was the last time anybody could make that claim?
  6. Vibrant and intriguing, a fine adaptation despite the slight departures from its source, with warm cinematography that captures the feel of '50s Saigon and two performances worthy of Oscar attention.
  7. You could describe Read My Lips as a love story, but that would make the movie sound much more conventional than it really is. See it now, before the inevitable Hollywood remake flattens out all its odd, intriguing wrinkles.
  8. 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.
  9. Although the unrelenting pursuit of making the Vatican listen becomes a bit tiresome, the portrayals of the two men by Tukur and Kassovitz are engaging.
  10. Digs deep into the roots of female fortitude.
  11. 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.
  12. Jackson's dazzling vision turns the story into a real movie-movie -- one that, unlike too many fantasy films today, is genuinely transporting.
  13. It's best to just enjoy Hannibal for what it is: A decadent, elegant waltz about evil's seductive bloom. As sequels go, you could do a lot worse.
    • Miami Herald
  14. So thoroughly absorbing while it's unfolding that later, when you play the movie back in your head, it's surprising to realize how ordinary it is. That's a testament to Nolan's talent: He's able to make even the hoariest clichés feel fresh.
  15. Surprisingly enjoyable.
    • Miami Herald
  16. It's pure popcorn entertainment, and it's pure formula, too: It's already been described, somewhat derisively, as Home Alone for grown-ups, which is not entirely off the mark.
  17. Action and comedy are more impressive here than in the first film.
  18. Snatch is admittedly superficial, if not downright disposable. More importantly, though, the movie is also fantastic, cheeky fun.
  19. Never stops having its dark fun.
    • 52 Metascore
    • 75 Critic Score
    A crackling good adventure, a visually sumptuous effort.
    • Miami Herald
  20. The stories touch our sensibilities, but the documentary never sugarcoats the childrens' experiences.
  21. 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.
  22. The first of this summer's would-be blockbusters that deserves to be a hit.
    • Miami Herald
  23. Ebullient, joyous film.
  24. One of the many pleasures in Spellbound is watching the reactions of these young brainiacs, all under the age of 14, as they first hear the word they are being asked to spell (''Is that even a word?'' seems to be a common thought passing through their heads.)
  25. 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.
  26. By film's end, Leconte has made you believe these disparate men inhabit the same soul: The chasm between them is a matter of paths not taken.
  27. It's impossible to watch this beautifully chaotic, excessive movie impassively. You'll either embrace what Luhrmann has done here or run out of the theater, holding your head.
    • Miami Herald
  28. Serendipity's finale is a perfect crowd-pleaser, sweet and unlikely and over the top.
  29. What distinguishes Spider-Man from most other comic book movies is that the film is at its most engaging when its hero is out of costume.
  30. Who would have thought a German comedy could be light, charming and devoid of intellectual snobbery?
  31. This is the most impressive directorial debut since"Reservoir Dogs." Being John Malkovich is weird, all right-- the best kind of weird, the kind you haven't seen before.
    • 76 Metascore
    • 75 Critic Score
    Poignant, funny and ultimately exhilarating.
  32. May not reinvent the wheel, but its expertly delivered thrills would hit the spot at any time of year.
  33. A surfeit of farce and fast-talking makes up for a lack of plot.
  34. Lee delivers a beautiful evocation of the American Dream in its simplest, purest form.
  35. The same premise could have been turned into a satirical comedy, but Better Luck Tomorrow opts for a more corrosive, challenging route, one whose troubling, morally ambiguous ending offers no easy resolution.
  36. As a piece of storytelling, Fight Club is a bit of a dud: It's a good 15 minutes too long, and the tension doesn't build the way you wish it would.
  37. The more you know about the 1912 tragedy, the more you will appreciate the sights of Ghosts of the Abyss.
  38. But for all the duplicitous minds playing games with each other on the screen, Nine Queens' best con artist turns out to be Bielinsky himself -- and his target is the audience.
  39. As the movie breathlessly cuts back and forth from a boisterous wedding celebration to a high-stakes soccer match, even the grumpy cynics will have been won over.
  40. Best of all, L'Auberge Espagnol uses Barcelona as a veritable character, a picturesque, vivacious place where, as one character puts it, ''No one eats before 10 p.m."
  41. By turns endearing and hilarious, Lilo & Stitch is proof the folks at Disney should break their own rules more often.
  42. Isn't only the silliest, most ridiculous movie of the summer; it may also be the most flat-out fun.
  43. 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?
  44. Cynics may roll their eyes at Hardball's earnestness, but the movie proves even the most conventional stories can move and engage you, provided they're told well.
  45. A quirky romantic comedy with a distinct and pleasing retro feel.
  46. A brilliant film by Lynne Ramsay.
    • Miami Herald
  47. This is easily the funniest of the Terminator movies (although not, it should be stressed, the lightest). It is also the shortest and most compact.
    • 49 Metascore
    • 75 Critic Score
    It's that very savagery -- not its love-can-conquer-all theme -- that makes Harrison's Flowers worth picking.
  48. This superbly realized, clammy and unsettling movie doesn't hinge on plot. Claustrophobic and profoundly creepy, Spider isn't a pleasant viewing experience, and that's the point.
  49. An involving, sweetly touching love story, buoyed by Crowe's natural, poetic dialogue and his knack for writing characters (especially women) who feel like real people instead of plot devices.
  50. Fiendishly tricky contraption.
    • Miami Herald
  51. A rollicking, jumbo-sized swashbuckler, awash in sword fights, cursed treasures, plank walkings and hurtling cannonballs. This stylish, rousing movie has been directed with refreshing levity and wit.
  52. This crowd-pleaser is a genuinely inspirational film, gorgeously filmed and wonderfully acted, echoing an uplifting sentiment that bears repeating: ''You don't throw a whole life away just because it's banged up a little.''
  53. There is magic here, enough to make Whale Rider worthy of the audience-choice awards it has earned at film festivals worldwide.
  54. A ferociously entertaining and mean little horror movie that achieves the kind of outrageous vibe best enjoyed in a crowded, noisy theater.
  55. Even without handicapping for the limitations of its gentle genre, the film has moments of whimsical humor and thoughtful plotting that soar tantalizingly close to something that could be enjoyed on its own merits.
  56. But Babys also resembles "Sunshine State" in another, more satisfying way: It leaves you longing to know what happens to these characters once the movie ends.
  57. The whole movie is at once formulaic, clichéd and predictable, yet surprising, engaging and filled with subtle, unexpected details.
  58. Slight but extremely effective, and its characters so engaging that even the sad finale, which is not entirely unexpected or original, manages to pack surprising power.
  59. The more preposterous Out of Time gets, the more enjoyable the movie becomes.
  60. The movie is a polished (and irresistible) piece of crowd-pleasing formula and deserves to become a monster hit. But it is also a perfect showcase for the volcanic talents of the rotund comedian/musician/all-around wildman.
  61. Despite its humble nature, the film is downright uplifting without being vulgar, flashy or embarrassing.
  62. Self-indulgent, overwrought, shallow and ridiculous. It is also brilliant, a blast of cinematic lunacy and as much of a guilty pleasure as the schlocky movies Tarantino adores, which was probably the point. Sometimes, only a Big Mac will do.
  63. By retelling Glass' pathetic tale, Shattered Glass reminds you how our culture's emphasis on success and stardom in any field -- and the betrayal of ethics to attain them -- has a cumulative, corrosive effect on society, no matter how small the stage may be.
  64. A fascinating look at events mostly unknown to outsiders.
  65. The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.
  66. What makes Master and Commander so bracing and transporting -- what makes the movie feel unlike any adventure film you've seen before -- is the precise detail and care with which Weir places us aboard the HMS Surprise.
  67. It is a stunning work that captures with elegance -- and touches of lyricism -- the challenge of finding the man through the artist.
  68. But there are so many beautiful, tender moments in In America -- that it's easy to forgive Sheridan's manipulative ploys.
  69. The movie's emotional impact is undeniable. It's a devastating portrait of smart, civilized people driven to behave in uncivilized ways, until it's too late.
  70. The film's appeal is universal, not just female, and, best of all, it's based on a true story.
  71. Theron's transformation in Monster goes far beyond mere appearance. As Wuornos, the actress gets to display a blunt, graceless physicality that is rarely needed in women's roles, which are traditionally internal.
  72. 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.
  73. Never buys into Wuornos' bizarre claims or questions her guilt in the murders. It does, however, make a powerful argument against capital punishment, no matter which side of the debate you happen to take.
  74. In a cast of wonderful non-professional actors, unfortunately Osama is the weakest. But to be fair, Barmak focuses more on situations than on developing the characters.
  75. Even for a sport already filled with horrific accidents and tales of unlikely survival, the mountain-climbing nightmare told in Touching the Void is astonishing.
  76. There's nothing offensive about Barbershop 2, and maybe there should be. But even if the film plays it safe, it remains a cut above other mainstream comedies.
  77. Some scenes drag, but Seagull's Laughter is still delightful.
  78. The film's concept is so absurd and Hamer goes about developing it with such a regimented structure that you have to believe that the filmmaker is poking fun at himself and the world he knows well.
  79. It's a strange kind of spiritual movie -- one that aims for the gut more often than the heart.
  80. There's a strange, bittersweet melancholy in watching the protagonists of Good Bye, Lenin! being buffeted about by change, but refusing to let go of each other.
  81. Bergman's debut feature is tender yet disturbing, sad yet at times funny.
  82. Like most movies about death, the gentle, quirky Wilbur Wants to Kill Himself ultimately turns out to be a story about embracing life.
  83. Faster, leaner and more compact than the original. Dumber, too, but that's almost always the case with remakes.
  84. It's an unabashedly square picture, and proud of it. It is also a warm, funny, earnest movie, a stand-up exercise in a kind of Hollywood melodrama -- the feel-good weepie -- that has long been out of fashion.
  85. A high-wire act of storytelling, tone and old-fashioned chutzpah.
  86. Energetic, nostalgic, occasionally troubling movie.
  87. There are other filmmakers who might have been drawn to a comic book as enchantingly ridiculous as Hellboy. But there are none who would have turned in a sleek $60 million picture as daringly silly, playful and imaginative as this one.
  88. Not so much a thriller as an exploration of one man's crumbling moral compass.
  89. The dead-serious Man on Fire awakens a genuine sense of bloodlust in the viewer. This is a slick, big-budget, A-list production designed to stoke our basest impulses -- to make us long for, and cheer at, bloody, merciless vengeance.
  90. An engrossing psychological thriller.
  91. Not for those with limited attention spans, though there's never a dull moment.
  92. Brosnan and Moore may not be substitutes for Tracy and Hepburn, but they're more than capable of making you smile for now.
  93. For all its tumult, The Clay Bird mostly concentrates on its likable characters, all acted with the kind of understatement that makes a good film better.
  94. War may set the stage for Strayed, but the film's real focus is something much quieter and internal: People caught in the throes of a transformation that is not of their making and struggling to adapt.
  95. Wins you over with this bright sense of humor and its gentle, welcome message of tolerance and acceptance.
  96. Here, finally, is a Harry Potter picture that lives up to its potential -- that, plainly, LIVES.
  97. Serves as a beautiful and delicate reminder of the myriad ways in which life is lived on this huge planet of ours.

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