Miami Herald's Scores

  • Movies
  • TV
For 2,975 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 There Will Be Blood
Lowest review score: 0 Deuce Bigalow: European Gigolo
Score distribution:
2,975 movie reviews
  1. It is always intriguing as it follows the arrest and captivity of Salomon Sorowitsch (the terrific Karl Markovics), one of Germany's leading counterfeiters.
  2. Gummo isn't so much a movie as it is an experiment, and, taken on those terms, it is a fascinating piece of work. Repellent, disgusting and ugly, yes -- but still fascinating. [23 Jan. 1998, p.5G]
    • Miami Herald
  3. Mysterious Skin bears all of Araki's hallmarks, from its stylish compositions and lush colors to its willingness to confront difficult subject matter head-on.
  4. 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.
  5. Achieves an assaultive intensity that adds a level of visceral excitement to car chases, mano-a-mano showdowns -- even simple conversations. It's a style that takes some getting used to -- the images flit by at near-subliminal speeds -- but proves tremendously effective.
  6. Such smooth, crisp entertainment, you barely even notice it has nothing new to say.
  7. Gere has never been better cast.
    • Miami Herald
  8. Action and comedy are more impressive here than in the first film.
  9. Tomorrowland is a crazy, disjointed mess. But it’s the good sort of crazy, and it’s the sort of mess you want to lose yourself in.
    • 85 Metascore
    • 75 Critic Score
    A strange art-house film, a must-see for punks and nightclubbers, a puzzle for the merely curious.
  10. 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.''
  11. Fast and funny, and grown-ups will not suffer sitting through it.
  12. If you haven't caught Lightning on PBS already, find a theater with a good sound system, sit back and be grateful the music endures.
  13. The main thing writer-director Michele Jouse, who was close to Shepard, wanted to do with her intimate documentary Matt Shepard Is a Friend of Mine was to give a voice to those who are still mourning him and allow them to share their stories.
  14. Riveting.
  15. Aside from its South African setting and flavor, there isn't a lot in Tsotsi that differs from its legion of similar Hollywood counterparts. But the movie's heart, along with Hood's refusal to sugarcoat the grim reality, wins you over no matter how many times you've seen this story told.
  16. Celebrates a larger-than-life heroism that is, sadly, all too rare.
    • Miami Herald
  17. The movie is essentially a vehicle for Smith, but the actor more than rises to the challenge. Rarely has attaining the American Dream seemed so impossible or daunting or so intensely, profoundly satisfying.
  18. The most enjoyable piece of pop fantasy of the summer; sleek, elegant, exciting and wildly, outrageously imaginative.
  19. 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.
  20. The tone and mood of Shutter Island are different on the screen from on the page -- the shadows darker than you imagined, the violence more ghastly, the blood redder.
  21. The directors complied and made some trims, which helps explain why the film works better as a thrilling but superficial celebration of two incredible athletes instead of a personal portrait of two world-famous women who continue to make sports history.
  22. Sitch keeps the tone consistently light, scoring big laughs all the way to the film's climax.
  23. The comedy of errors that ensues sometimes slides into Seinfeld territory -- not that there's anything wrong with that -- but the subtlety of the performances combined with graceful retro filmmaking touches and wry narration keep it well above sitcom level. [1 July 1998, p.2D]
    • Miami Herald
  24. At Any Price teaches you a lot about the business of corn seeds and genetic manipulation (the stuff is actually fascinating) but what interests director Ramin Bahrani most are the dynamics of this deeply dysfunctional family.
  25. Under the Sun doesn't intend to be dramatic, much less melodramatic. This beautiful film just wants to capture life's simplicity.
    • 66 Metascore
    • 75 Critic Score
    Registers as a more scenic "Hoosiers" with rowdier fans.
  26. Shows Jerry Seinfeld as you've never seen him before: being unfunny.
  27. 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.
  28. 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."
  29. Well-acted and sincere, Testament of Youth is chastely romantic in its treatment of the relationship between Vera and Roland, but the film doesn’t hold back on showing the horror of trench warfare.
  30. Even if V for Vendetta isn't nearly as incendiary as it's been made out to be by some alarmist critics, there's still something enjoyably subversive about it, beginning with the way it tramples over the conventions of the contemporary action film.
  31. When it comes to exploring our peculiar blindness as to what's important in our lives, the film is a disturbing but accurate road map.
  32. Timing is key in a comedy like this, and Sonnenfeld keeps everyone and everything clicking. The pacing is swift and the laughs are steady.
  33. A sleek, rousing contraption, a comic-book movie with a sense of playfulness, a welcome streak of humor and just the right touch of gravity.
  34. Makes a compelling argument for women's rights without ever succumbing to preachiness.
  35. Despite its considerable faults, this bizarre, fascinating story is impossible to shake off, like the expression on the face of one of the brothers as he's talking about his father and begins getting choked up (instead of crying, he smiles convincingly, evidence of a life led having to learn to hide his emotions for fear of reprisal).
  36. 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.
  37. Mines a great deal of its humor from the can't-be-bothered attitude of British culture, but the jokes survive the trip across the Atlantic mostly intact.
  38. Its overall ability to balance humor and drama, attention to emotional detail and a few winning performances outweighs its maudlin tendencies.
  39. An intoxicating, world-class collaboration between a filmmaker (Spain's Fernando Trueba), two artists (designer Javier Mariscal and animator Tono Errando) and a musician (Cuban pianist/bandleader Bebo Valdés).
  40. The result is an unwieldy but still compelling look at the plight of immigrants wrapped in a thriller about black-market organ transplants.
  41. Dry humor keeps In Bruges fresh and lively and makes it a whole lot of fun to watch.
  42. 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.
  43. Offers a rose-colored picture of life, but one that Campanella makes ring true.
  44. What makes Wolf Creek so effective is not its originality (which, let's face it, is practically non-existent), or even its amount of gore (the violence is implied more often than it's shown), but the ways in which McLean tweaks the usual formulas, so what you think is going to happen next almost never does.
  45. Shortbus is, first and foremost, an experiment -- an accessible, audience-friendly movie about love and sex in which the screen doesn't fade to black once the actors start taking off their clothes.
  46. Sometimes the film feels as if it's trying too hard to include every possible horror a teenager could sample.
  47. Amusingly raunchy.
  48. A surfeit of farce and fast-talking makes up for a lack of plot.
  49. Serenity shows what might have happened if Han Solo had been the focus of the original "Star Wars" instead of whiny Jedi wannabe Luke Skywalker.
  50. Kitano's most enjoyable, flat-out fun movie, provided you can stomach the violence.
    • 52 Metascore
    • 75 Critic Score
    A crackling good adventure, a visually sumptuous effort.
    • Miami Herald
  51. This film, directed by Curb Your Enthusiasm's Robert Weide, makes an entertaining companion piece to his book.
  52. Like most movies about the Middle East conflict, Omar is ultimately about the futility of violence and how it feeds on itself.
  53. There is considerable fun in discovering the hows and whys the crew of the U.S.S. Enterprise came together, and each member has at least one moment in the spotlight, including the esteemed helmsman Sulu.
  54. Roberts inhabits the character with a gravity and poignancy that she had never even hinted at before.
    • Miami Herald
  55. This bleak, oh-so-dark comedy is one of the best movies you almost didn't get to see.
    • Miami Herald
  56. 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.
  57. Fabulously perverted comedy.
  58. Snatch is admittedly superficial, if not downright disposable. More importantly, though, the movie is also fantastic, cheeky fun.
  59. Grohl's appreciation for the inhabitants of this dingy demimonde, from the artists to the secretaries at the front desk, makes Sound City an infectious and sincere Valentine to a rapidly disappearing art form.
  60. Guaranteed to engage the decided and undecided alike, regardless of party affiliations.
  61. Batman Begins is a mature take on material often relegated to the kiddie file, and it's simply the latest proof that, when treated properly, comic books are a viable art form for all ages. Bring on the sequel.
  62. Shirley MacLaine pops up as Walter’s ever-forgiving mother, and Wigg kills in an elevating sequence in which she sings David Bowie’s Space Oddity at a karaoke bar. Penn only gets one scene, but it’s a great one, and it reminds you how funny of an actor he can be.
  63. Today, 54 percent of Sea World’s whales have Tilikum’s genes, which is a terrifying thought.
  64. The movie has an epic sweep but an intimate, personal feel. If Changeling lacks the knockout power of, say, "Million Dollar Baby," it proves that Eastwood continues to seek out stories that take him places he hasn't been before -- and the audience along with him.
  65. Driver's over-the-top Jewish Canadian Princess performance is so stereotypical it's downright embarrassing in a film that otherwise treats its imperfect characters with respect even when they're at their worst.
  66. Proving girls can get just as down and dirty as boys, the wedding comedy Bridesmaids contains some uproarious moments of gross-out humor.
  67. The deep cast (look out for a slew of crowd-pleasing cameos) play this borderline-silly stuff so well, there isn’t a single unintentional laugh in the entire thing.
  68. 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.
  69. What makes The Woodsman meaningful is Bacon's tortured suffering.
  70. Shot mostly with a hand-held camera and in the gray hues you expect from the gruesome landscape, Kippur is highly sophisticated in its action scenes.
    • Miami Herald
  71. The Iceberg is a riot, a quintessential French comedy with an improbable plot and an unbelievable cast of characters.
  72. 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.
  73. A treat to anyone who already cherishes Varda's films and a perfect primer for those who haven't yet discovered her work.
  74. It's not a wonderful family, and the lives thus illuminated aren't sweet at all. But the movie is both things. In his sheer affinity for the human, Leigh approaches the great Jean Renoir. What fun to watch. [21 Feb. 1992, p.5]
    • Miami Herald
  75. You don't have to love dogs to enjoy Darling Companion, but it couldn't hurt.
  76. Canner is able to keep Orgasm Inc. trained on its eponymous theme with a brisk pace and precise detail that will be equally illuminating to men and women.
  77. This is the first film Gray has made with a female protagonist — he wrote the part specifically for Cotillard — and he gives the character the same resilience and resourcefulness usually reserved in movies for men.
  78. The strength of the performances, along with the good will generated by these flawed but likable characters, carry the movie through.
  79. If Treasure Planet falls short of "Lion King's" classic status, it still proves there is plenty of room in animation for movies that aren't geared exclusively to 8-year-olds.
    • 47 Metascore
    • 75 Critic Score
    Just plain fun.
  80. Like most movies about death, the gentle, quirky Wilbur Wants to Kill Himself ultimately turns out to be a story about embracing life.
  81. Gervais' wickedly sly concept lingers quite awhile after the final chuckle. And that's the truth.
    • 61 Metascore
    • 75 Critic Score
    Both a dazzling technological achievement and a really sweet movie.
  82. 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.
  83. Holy Motors is wild and unfettered and playful - the work of an artist who carries his love of cinema in his bones, and knows how to share that affection with the audience.
  84. Smart, entertaining update.
  85. This is Nolan’s unabashed tribute to "2001: A Space Odyssey," the first movie he ever saw at the age of 8 and the one that made him decide to be a filmmaker (there are homages to that earlier film everywhere).
  86. Talk to Me is a welcome reminder of a time when radio truly listened to the people instead of just shouted at them.
  87. Unapologetically slanted -- and often hilarious.
  88. True Story marks the directorial debut of Rupert Goold, a respected British theater veteran who also co-wrote the script and knows how to engage the viewer with simple scenes of two people talking (with a few modifications, this could have easily been a play).
  89. Circumstance, the story of the budding romance between two high school girls, is unlike any adolescent love story you've ever seen: This one takes place in Tehran.
  90. A competent but not extraordinary action-comedy.
    • Miami Herald
  91. Eclectic, grandly engaging documentary.
  92. Downey gives a nervy, riveting performance in The Soloist.
  93. Depending on your age, Limelight could make you nostalgic for those bad old days - and sort of glad you'll never be able to relive them.
  94. 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.
  95. The new version uses addiction as a vehicle to tackle larger themes, eloquently explored by Monahan’s dialogue, which sings in a way uncommon to tough-guy crime-dramas.

Top Trailers