Miami Herald's Scores

  • Movies
  • TV
For 2,914 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 1 point lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Boyhood
Lowest review score: 0 Teen Wolf Too
Score distribution:
2,914 movie reviews
  1. The movie's politics may miss their mark, but its thrills are dead-on.
  2. 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.
  3. After the Wedding ends up feeling far weightier than it first appears, with its plot contrivances and unlikely coincidences generating such a messy range of emotions, they end up feeling a lot like real life.
  4. 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.
  5. Where Planet Terror is all hollow, self-conscious homage, Death Proof is the work of a director striving to make something original while remaining true to the movies that influenced him. It is also, once it gets going, terrific, sensational fun -- precisely the vibe Grindhouse aims for, but only sporadically attains.
    • 70 Metascore
    • 75 Critic Score
    The film is not only a good deal of malicious fun, but it gives Gere his best role ever.
  6. Succeeds where so many other recent horror pictures have failed: It consistently scares you silly.
  7. There is little trace of tragedy in this warm, refreshing Southern comedy, which is quirky without being idiotic, original despite some familiar developments.
  8. Above all, this story is about the peril that lurks under life's surfaces.
  9. The Iceberg is a riot, a quintessential French comedy with an improbable plot and an unbelievable cast of characters.
  10. One of the chief pleasures of Paris, Je T'aime -- is seeing how each filmmaker adheres to their assignment of making a movie about love in Paris but still comes up with a distinctly personal work that bears their artistic sensibilities.
  11. I can't imagine anyone seeing Once and not instantly falling in love with it.
  12. 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.
  13. A glittering, beautifully made goof, and the bulk of its fun comes in watching so many talented people chasing after such trivial, disposable pleasures on such a large, big-budget scale.
  14. Love makes us do all kinds of crazy things, but in Crazy Love, crazy seems too mild a word.
  15. Sicko occasionally returns to Bush, but it doles out the smacks equally on both sides of the political spectrum (Sen. Hillary Clinton gets hers, too).
  16. Surprisingly effective, rousing entertainment, which boasts plenty of old-school, at times jaw-dropping stunt work done the manly way.
  17. Has the sort of richness and dimension that are the hallmarks of master storytellers at work.
  18. It resonates with gleaming ferocity as it unspools a story of regret, longing and resolution in two generations of women.
  19. The most surprising thing about Michael Bay's much-anticipated, blockbuster-bound Transformers is how funny the movie is.
  20. There's never any question how Rescue Dawn will end, but as conventional and straightforward as the movie is, it's easy to understand why Herzog was driven to tell this story twice.
  21. To lump in this smart, subtle, deviously effective thriller with "The Omen" or "The Good Son" is neither fair nor entirely accurate.
  22. The most amazing magic yet for the wildly popular franchise: It is genuinely engrossing.
  23. Talk to Me is a welcome reminder of a time when radio truly listened to the people instead of just shouted at them.
  24. Delivers an even bigger sugar rush than the hit Broadway musical.
  25. Funny in the juvenile, crass way we expect.
  26. 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.
  27. Make no mistake, Arctic Tale is a stunning film, full of all the astonishing, even breathtaking nature photography we've come to expect from the folks at National Geographic.
  28. The most ingenious thing about the movie is how it plays to diehards and neophytes alike. Every Simpsons character gets at least a fleeting appearance (and occasionally, director David Silverstein uses the widescreen format to cram in as many of them into one shot as he can).
  29. For connoisseurs of stupidity, Hot Rod is that perfect delicacy: A silly movie about ridiculous characters that's also actually funny. Hilarious, even.
  30. Amusingly raunchy.
  31. Perhaps the most surprising thing about Stardust is that its most winning element is neither its delightful story nor its special effects but its sly sense of humor.
  32. A late-summer delight, a sleek, handsomely made bauble buoyed by a cast much stronger than the flimsy material deserves.
  33. Although it is never explicitly stated, Manda Bala essentially argues that when the middle class disappears, the rich and the poor end up feeding on each other, like the frogs that go cannibalistic at the frog farm that gives the movie its central metaphor.
  34. Superbad never forgets the lesson one learns when looking back on one's awkward youth: Cool isn't just where society dictates; it is also where you find it.
  35. There's no question The Invasion works in a mechanical, by-the-numbers manner. But it's what the movie leaves you with -- absolutely nothing -- that is the scariest thing about it.
  36. A nuanced study in obsession, dedication, manipulation, ethics and how the all-American need to be the best at something -- anything -- can shape a life.
  37. Across the Universe can't achieve the transcendence and exhilaration musicals strive for, but it often generates a singular kind of magic you've never experienced before.
  38. Here is an excellent crime thriller made with grown-ups in mind: Yep, it must definitely be fall.
  39. Though its violence is searing and brutal, the film, about four FBI agents investigating a terrorist attack in Saudi Arabia, shows a conscience and a brain, and if it explains things a bit simplistically at times, so much the better.
  40. Documentary gold, and you will have formed an opinion on the controversy by the time you leave the theater. You may not know art, but you'll know what you like.
  41. The only real casualty of Lehane's novel is Angie, here reduced to a supporting player who bears no resemblance to the original character, who is every bit as smart and tough and interesting as her boyfriend. It's a regrettable loss in a film that otherwise indicates its first-time director knows what he's doing.
  42. It is a testament to how well the movie is made that even the most hardened viewer might find himself tearing up at moments -- and you won't have to hate yourself in the morning.
  43. Initially sounds perverted but ends up being just the opposite.
  44. Despite the fact that the film is not graphic, you won't want to watch Darfur Now over dinner with your family. But you probably should anyway.
  45. Cusack, of course, is the perfect Anti-Schmaltz. His rapid-fire delivery makes everything he says sound like it's just pouring from his brain to his mouth, so that even the sappiest dialogue is rendered sincere.
  46. It is a testament to just how well Enchanted works that by the time a dragon is flying around New York City, you've forgotten all about the movie's high-concept humor and become invested in the plight of its characters instead.
  47. It's a B-movie with A-list aspirations, and it's at its best when it's not trying to be something it isn't.
  48. 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.
  49. 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.
  50. As formidable as Kingsley is, Elegy wouldn't work if his object of obsession wasn't worthy of him.
  51. Juno comes on all wisecracking and aren't-we-clever, but don't be surprised if you find yourself getting choked up -- with happy tears -- by the end.
  52. For horror fans, Halloween came a little later than usual this year, but it was worth the wait.
  53. Has a crackling, almost farcical pace, even though its subject matter could not be more serious or complex.
  54. ''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.
  55. 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.
  56. 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.
  57. Mostly silly and always frothy, as sugary at times as wedding-cake frosting but tempered with a welcome strain of sour grapes, mostly doled out by the peerless Judy Greer as Jane's cynical, slutty best friend.
  58. Unlike Pedro Almódovar's "What Have I Done To Deserve This?," which focused on a similarly harried wife and mother who reached her breaking point, Alice's House does not leaven its heroine's plight with dark humor. Nor does it offer any easy escape route.
  59. The movie, which is as low-key and subdued as Tewfiq himself, is something of a marvel: a precious work of minimalism that, instead of disappearing into itself the way so many small-scale comedies do, grows before your eyes into something profound and profoundly affecting.
  60. Dry humor keeps In Bruges fresh and lively and makes it a whole lot of fun to watch.
  61. This engaging documentary is briskly funny.
  62. 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).
  63. At its best when it is at its most freewheeling -- when it tramples past logic, motivation and basic plausibility in its pursuit of a funny, whimsical kind of nonsense.
  64. It is always intriguing as it follows the arrest and captivity of Salomon Sorowitsch (the terrific Karl Markovics), one of Germany's leading counterfeiters.
  65. 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.
  66. Horton Hears a Who wisely preserves most of Seuss' verse in voiceover narration, but the main dialogue, while it doesn't rhyme, preserves the author's humanistic humor and whimsy.
  67. Instead of delivering a pointed statement, this timely and energetic crowd-pleaser aims for -- and accomplishes -- something much more difficult: It makes you fall in love with its characters.
  68. What makes Young@Heart such an ingratiating experience goes far deeper than the novelty of seeing old people singing hard rock tunes.
  69. The Visitor is a small movie, but its emotions could not be writ any larger.
  70. The Forbidden Kingdom may be nothing but disposable fun, but it is a great, heaping, overflowing helping of fun. If you're 10, it may also seem like "Citizen Kane."
  71. It's terrifically funny and, for a few brief moments, poignant.
  72. It also leaves you pondering what you would have done if you had been one of the soldiers stationed there, fighting in an increasingly loony and surreal war. There but for the grace of God, and all that.
  73. By focusing on his two young protagonists, Chang is able to explore the cultural differences between China and the rest of the world, resulting in sequences that are alternately humorous and eye-opening
  74. 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.
  75. 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.
  76. In Redbelt, David Mamet enters the realm of sports drama and Rocky-underdog clichés and discovers it's a surprisingly good fit.
  77. The film is filled with scenes about scrappy, cut-and-paste filmmaking, and the movie-within-a-movie that drives the plot also ends up as the centerpiece of the hugely affecting final scenes.
  78. Its playful approach to chronology and voice-over narration serves to amplify its themes instead of coming off as a show-off trick.
  79. 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.
  80. 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.
  81. Even when his scripts aren't working, Shyamalan knows how to frame shots and build suspense. The Happening, even more than his previous films, has a visual elegance and subtlety that helps to overcome the less successful aspects of the plot.
  82. Get Smart turns out to be a much more entertaining movie than its tedious trailers suggest. It's not going to redefine comedy as we know it, but it's amusing and briskly paced, busy with an engaging mix of supporting actors.
  83. The real hit of the movie is the hilarious Bateman. His low-key humor makes you wish Hancock could have saved Bateman's short-lived sitcom "Arrested Development." Now that would have been heroic.
  84. 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.
  85. The film's refusal to take its characters anything less than seriously makes it cut deeper than a Will Ferrell lampoon.
  86. A thoroughly satisfying and engaging children's picture that never forgets those kids probably didn't get to the theater by themselves.
  87. A slow-moving but heartfelt film.
  88. Yes, Pineapple Express is exceedingly crude, but it's never mean or lewd, and for all the drugs and gore in it, the movie is also strangely, unrelentingly sweet, even when its characters are bleeding to death.
  89. Unlike so many Hollywood thrillers, which too often rely on implausible or telegraphed twists, Transsiberian is carefully structured and designed to make sense when you replay the events in your head.
  90. Baghead will disappoint gore hounds or anyone looking for an extreme horror experience -- this is more of a comedy-drama than anything else.
  91. Turns out to be a lot less tiresome than it sounds, aided by a wonderfully appealing cast and a strong message.
  92. Half-Blood Prince is the franchise's “Empire Strikes Back” -- the episode in which the pace slows down a bit, the characters deepen and mature, the good guys take a big hit, and all hell is gearing up to break loose.
  93. Cruz, who has never been able to fully show what she's capable of as an actress in an English-language film, takes to the role of the dark-haired hellcat with a sexy, bewitching fury.
  94. Watchmen is a spectacularly violent movie.
  95. This film, directed by Curb Your Enthusiasm's Robert Weide, makes an entertaining companion piece to his book.
  96. Predictable but amusing. The painfully awkward, stubby Gervais as romantic lead is a funny enough concept, but the actor's ongoing banter with Kinnear is engaging, and their styles mesh entertainingly.
  97. Everyone in the movie is a buffoon or a dolt. No one is redeemable. The humor comes at the expense of the characters: You're always laughing at them, never with them. The Coens have never seemed this disdainful, this mocking, of their fellow man.
  98. The film isn't much of a character study; too many of its secondary characters are stereotypes, and it never fully engages our emotions the way "Schindler's List" or "The Pianist" did.
  99. It's a funny, even whimsical film about a man who survives tragic times, complete with Nazis, pratfalls and plenty of mugging.

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