Miami Herald's Scores

  • Movies
  • TV
For 3,031 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 Up in the Air
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
3031 movie reviews
  1. The Visitor is a small movie, but its emotions could not be writ any larger.
  2. The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.
  3. A perfectly cast Keanu Reeves pokes deadpan fun at himself in the role of Justin's New Age dentist, who hypnotizes the kid and encourages him to find his inner ''power animal.'' And Vince Vaughn, in a rare straight turn, is excellent as Justin's high school teacher.
  4. What makes this documentary worth seeing is the sensational courtside footage taken with IMAX cameras, which bring a whole new way of seeing the game to fans who don't get to sit in Jack Nicholson's section.
    • Miami Herald
  5. Never becomes cloying, because although Agresti does not lose sight of the great sadness at the center of his tale, he resists the temptation to overplay its bigger moments.
  6. In addition to the interesting camera work, the documentary's undeniable appeal comes in how close Longley gets to the characters, who are all male.
  7. What distinguishes The Orphanage are some spare but fiendishly well-placed shocks that give the film an extra sense of danger: You can't take comfort with this one assuming you know what lurks around each corner, because you don't. Trust me.
  8. Tilda Swinton is the star of We Need to Talk About Kevin, and her performance is so complex and volcanic and transfixing that all of the film's flaws melt away.
    • 51 Metascore
    • 75 Critic Score
    A rare movie, one that manages to be both quiet and electrifying, touching and unnerving. But it is not a great movie, even though its stars deserve for it to be.
    • Miami Herald
  9. This is a movie that manages to be light and funny and still transcend age, background and culture to treat with compassion our ability to behave in our own worst interests and still nurture hope for the future.
  10. It's a testament to the power of the story -- and this engaging adaptation -- that leaving Hogwarts is tough anyway.
  11. While Cacoyannis' film may not be totally faithful to the master's pen, for literature students and theater lovers, this Cherry Orchard is a rare treat.
  12. It may not get top billing, but glorious music is the star of Songcatcher, an intriguing and often lovely film.
  13. Filled with conspiracies, intrigue and the suggestion that modern-day society is purposely designed to drive us a little nuts, The Manchurian Candidate is a paranoid fantasy for our time.
  14. The performances are all terrific - Stillman gets his actors to latch onto his absurdist vibe, then gives them wonderfully rich dialogue to play with.
  15. Point Blank is as disposable as a feature-length episode of TV's 24: The movie is all adrenaline and excitement, and it doesn't really stay with you. Just try to tear your eyes away while you're watching it, though.
  16. Above all, this story is about the peril that lurks under life's surfaces.
  17. Oliver Stone tried encapsulating Alexander's life into one movie, only to discover the task was impossible. Bodrov knows better, using Mongol -- the first of an intended trilogy -- to center on Genghis Khan's formative years.
  18. Skillfully straddles an intriguing line between reality and fiction.
  19. Definitely funny. Goofy, ridiculous, with more gross-out humor than is strictly necessary but still funny.
  20. A straightforward, earnest, sentimental picture: It's all the things you'd think a Sept. 11 movie directed by Oliver Stone would never be.
  21. The only thing missing from this winsome, madcap throwback set in London on the eve of World War II is an actual Brit in the title role.
  22. In some ways, better than its book.
  23. The movie is more interested in making viewers consider its disenfranchised protagonists from a fresh perspective. The fact that the film accomplishes this without a trace of gooey sentimentality is a small miracle.
  24. Bitter, brittle, condescending and petty, the titular character of Margot at the Wedding, fabulously played by Nicole Kidman, is a successful short story writer who resents other people's happiness.
  25. Despite its downbeat theme, A Single Man is ultimately optimistic about the human capability to gradually make peace with seemingly insurmountable pain and tragedy.
  26. We may not understand her, this strange, solitary woman, but we know in our bones her desire for a place in the world.
  27. Milks Carter's story for maximum "inspirational" value, and at times the movie skirts dangerously close to afterschool-special territory.
  28. Despite the efforts of the cast (Byrne and Murphy are particularly good), you rarely feel a thing for any of them, but I don't think you're really supposed to, anyway. The characters in Sunshine tackle thorny ethical questions and debate the sanctity of life on their way to the sun, but the movie is really about the voyage, not the voyagers. Enjoy the sights.
  29. An uncommonly polished and sophisticated superhero movie.
  30. Surprisingly enjoyable.
    • Miami Herald
  31. There are some who may lament Aniston’s choice to step out of her comfortable comedy shoes and little black dresses, but the decision was sound: The best reason to see Cake — the sort of film that makes your life look pretty good in comparison — is to watch her deliver her best dramatic performance to date.
  32. As for getting close to Wintour -- or even explaining the unfathomable mystery that can be haute couture -- the film comes up empty.
  33. An enchanting romantic comedy between two lost souls in the most unexpected of places.
  34. The documentary Mad Hot Ballroom is packed from start to finish with adorable kids doing cute things: Rarely has a movie, fictional or not, had this much awwwww factor.
  35. The combination of youthful irreverence and military indoctrination is jarring.
  36. The Savages is ultimately about two siblings, both around 40, in the midst of learning it's never too late to start embracing life, no matter how rotten a hand you were dealt in the past.
  37. But there are so many beautiful, tender moments in In America -- that it's easy to forgive Sheridan's manipulative ploys.
  38. Grandly entertaining documentary.
  39. The Proposition leaves you shell-shocked.
  40. Some of the developments feel a bit predictable — shot in the dull hues of gray that match Maud’s life, Suffragette occasionally turns hard truths into platitudes — but the story is inspiring, buoyed by a fine cast, a pointed, important examination of the price paid for a shot at equality.
  41. All we can do is hope that films such as Hotel Rwanda remind us all -- moviegoer and politician -- of the terrible cost of doing nothing.
  42. Efron makes you believe he’s capable of anything. Neighbors is rude, brazen and merrily offensive, and the movie mines the homoerotic undertones of fraternities to fine (if lowbrow) comic effect. But Efron, of all people, gives the film a curious edge.
    • 53 Metascore
    • 75 Critic Score
    Now a vastly larger audience has the chance to experience the masterwork of a prodigiously talented man who died far too young.
  43. Never crosses over into meanness, and even the most satirical character has a moment of empathy.
  44. Through Tautou's performance, Coco Before Chanel reveals the formation of an artist.
  45. Survives its surface annoyances because Lynch's script also has ambition, heart and something to say other than love conquers all.
  46. Romantic comedies don't have to be profound when they are as appealing as this one.
  47. Essentially, You Don't Mess With the Zohan isn't all that different in tone and sensibility from Sandler's previous films, but he's really trying in this one, and the effort pays off.
  48. Midnight in Paris initially seems like a departure for Allen, but the prevailing theme blends right in with the rest of his canon.
  49. Penguins are intrinsically amusing. In general, Jim Carrey is amusing, too, provided you can overlook that whole "How the Grinch Stole Christmas" debacle. In Mr. Popper's Penguins, he and they add up to surprisingly fun family entertainment.
  50. The story is worth telling, one that begs the question: Has anything changed?
  51. Amped to the max, with firepower and fisticuffs flying, this is Bond as we have come to know him in the post-Roger Moore years: bigger, badder, better.
  52. This bruising, harrowing movie would be impossible to sit through without at least a hint of light at the end of its astonishingly dark tunnel.
    • 43 Metascore
    • 75 Critic Score
    The protagonists of Light It Up seem strangely tender and vulnerable, and the movie, if heavy-handed at times, does a remarkable job of making their plight moving.
  53. Equally thrilling and wrenching, the film is an absolute must for anyone who loves sports and an eloquent explanation for those who don't understand what the fuss is about.
  54. The star is the coming together of East and West, and how art provides the medium.
    • Miami Herald
  55. Medem may have disrobed most of the cast, leaving their bodies exposed, but the plot remains as guarded as a virgin with a chastity belt. That's why Sex and Lucía is so alluring.
    • Miami Herald
    • 66 Metascore
    • 75 Critic Score
    The magic of the film lies not in the mysterious spring but in the richness of its performances. The producers have assembled a cast with three Academy Award winners.
  56. Might have been unbearable if Linklater hadn't filled it with so much self-deprecating humor, undercutting the pretentiousness whenever it threatens to become too thick.
  57. Some of the creations these chefs produce defy belief (and make you wish you could jump into the screen to have a taste).
  58. Credit goes to Richard Lester, who is much more than an action director and whose erratic brilliance occasionally transcends this material, and to Reeve, who has manfully refused to let on that he is tired of the part (as opposed to the Jedi principals, who phoned theirs in). [17 June 1983, p.D1]
    • Miami Herald
  59. Beguilingly odd.
  60. Gets everything right.
    • Miami Herald
    • 57 Metascore
    • 75 Critic Score
    A refined, tasteful film about pure, hard lust.
  61. Only a very stony heart could resist its pull.
  62. It's a fantastic special effect because it doesn't look like a special effect: The movie sells the illusion that the suit could maybe, possibly, exist.
  63. The more preposterous Out of Time gets, the more enjoyable the movie becomes.
  64. Bold and intrepid film buffs: The gauntlet has been thrown. Here's something you don't see every day - thank goodness.
  65. None-too-subtly implies Murrow could easily be talking about the present day.
  66. Lowery has a lyrical style of storytelling that is delicate and subtle yet suffused with emotion and atmosphere. It’s gentle and pointed at the same time. Ain’t Them Bodies Saints wafts over you like a dream, leaving behind a lovely, melancholy trace that hurts.
  67. A rather luminous movie on the power of love.
  68. 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.
  69. Director Kevin Macdonald, an accomplished maker of documentaries making his feature-film debut, gives The Last King of Scotland the pace and crackle of a thriller, albeit a thriller with substance.
  70. The film's appeal is universal, not just female, and, best of all, it's based on a true story.
  71. But by the time you understand the meaning of its title, Sabiha Sumar's film has delivered an emotional punch.
  72. It's just as voyeuristically enjoyable as those VH-1 has-been bios but without the soft-focus star shots and with far more edge, energy and originality.
    • Miami Herald
  73. What a grand and dazzling route Coppola takes.
  74. As for the Marigold Hotel, well, it's not the Delano. But overall it's a fine spot to spend a couple of hours.
  75. Smith's funniest, sharpest and most polished movie to date. It also is his most mature and emotionally engaging picture, even if it happens to contain one of the grossest sight gags I've ever encountered in a mainstream Hollywood film.
  76. Brosnan and Moore may not be substitutes for Tracy and Hepburn, but they're more than capable of making you smile for now.
  77. Valiant enlists a squad of loveable birdbrains to turn the classic fighter-pilot formula into an upbeat adventure film loaded with laughs.
  78. Borrowing its title from a mix tape Cobain compiled as a teenager, the film, made with the cooperation of his widow, family and former bandmates, remains compelling and moving no matter how familiar you already are with the singer’s story.
  79. A wonderfully rumpled, loose comedy about the paralyzing fear of failure.
  80. Better than its trailers indicate. Forget the seemingly silly Chapstick moment: Any film that sends a cold shock to your system is doing something right.
    • Miami Herald
  81. Despite moments of intense suspense and glints of bizarre horror, Tom at the Farm is ultimately a psychological thriller.
  82. 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.
  83. It's a breezy, homespun, relaxing thing...watching this laid-back picture feels, oddly enough, like a vacation from movies.
  84. Carlei’s film is not particularly imaginative in terms of context, but it offers proof that this material never tarnishes, that with the right sort of movie magic, even a traditional telling can be thrilling.
  85. Margin Call doesn't demonize its characters, nor does it absolve them of their sins. The movie simply shows, without judgment or anger, how our economic crisis came to be.
  86. 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.
  87. A mean and exceedingly well-made little B-picture, but the questions it raises are far too complex to answer with a simple gunshot.
  88. Lurking just beneath Water's serene, storybook surface is an unmissable, defiant passion.
  89. Although there are several stretches in the movie in which Seidl seems to be repeating himself, the director is carefully building toward a knock-out final scene in which the inscrutable, often annoying Anna becomes beautifully, poignantly human in front of our eyes, like magic.
    • 49 Metascore
    • 75 Critic Score
    An intelligent crime drama, not because of the criminal activity it dramatizes but because of its powerful examination of the forces that drive criminals.
  90. Escape from Tomorrow is more of an experimental film than a traditional narrative, but intrepid viewers — or anyone who has ever visited a Disney park — will enjoy getting lost in this dark house of happy horrors.
  91. 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.
  92. The most horrific -- and heartbreaking -- scene of any movie thus far this year comes at the climax of The Cove.
  93. Despite its subject matter, Transamerica is a surprisingly funny movie, because Tucker never lets the pathos overwhelm his sense of humor.
  94. A film that's funny and entertaining for kids and adults.

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