Miami Herald's Scores

  • Movies
  • TV
For 3,183 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Manchester by the Sea
Lowest review score: 0 Juwanna Mann
Score distribution:
3183 movie reviews
  1. There's nothing here that hasn't been done before, and better, in any given "Halloween" or "Friday the 13th" sequel.
  2. It has virtually nothing in common with the charming book written by the Gilbreths about their turn-of-the-century family and everything to do with making money on DVD rentals.
  3. The formulaic movie would be forgettable but inoffensive if it were anyone else posing for blue screen CGI effects.
  4. In the end, they are only moments, and even at a merciful 86 minutes, Dirty Dancing: Havana Nights feels formidably long.
  5. An apocalyptic Bob Dylan song made cinematic, with all the vision and poetry dissipating in the transfer. It's as if the filmmakers listened to "Desolation Row" just one time too many.
  6. This is a gleefully repulsive movie. Spun is bound to be described as bold and cutting-edge by those who confuse shock value with achievement. Most people, however, will just long for a shower after it's over.
    • 29 Metascore
    • 38 Critic Score
    Too inert to be titillating, too generic to be engaging.
  7. Amateurishness -- the camera angles sometimes chop off the top of Reiser's head -- aside, The Thing About My Folks is also weirdly dated, especially with regard to technology.
  8. Derivative and self-important, Third Person is a concept and not much more, precisely the sort of film that makes you wonder why anybody would bother to see it at all.
  9. A tired and unnecessary sequel.
    • 49 Metascore
    • 38 Critic Score
    Only one-third of these gags are funny. [5 Dec 1989, p.C1]
    • Miami Herald
  10. Certainly a grand-looking picture. For a film that's filled with CGI effects, there wasn't a single shot that looked artificial, and the production design is tremendous. But it's a hollow, boring spectacle.
  11. This is 40 is crude and dull, with a supporting cast that reminds you how utterly uninteresting the main characters are.
  12. Homefront is done in by uninspired action scenes in which Statham’s athletic prowess is rendered unwatchable by hyper-editing, a shameful reliance on child-in-peril cliches to move the story forward, and so many loose ends that you wonder if 20 minutes were accidentally cut out from the movie.
  13. The result is almost suffocating: a movie that has been tinkered and fussed with until there is no spontaneity left -- no warmth or life or messiness.
  14. Superman IV works rather well as a children's movie. It even has a line or two for adults -- though not, one hastens to qualify, enough to actually warrant adult attendance. [25 July 1987, p.B1]
    • Miami Herald
  15. Has all the depth of an episode of "Joey."
  16. This new, presumably improved Chainsaw is just as humorless as the original, but it's also slicker, glossier and resoundingly artificial.
  17. Nothing wrong with a movie having a point of view, but watching people spout jargon or exposition doesn't really make for riveting entertainment.
  18. The fact that Swept Away got made at all implies there simply is no dissuading Madonna from her movie-star aspirations. Her tenacity is admirable, but it's also block-headed.
  19. Explicitly invites us to mock its artificiality and giggly cluelessness, but beyond its attractive shell the film rings hollow. These days, even a comedy has got to have a heart.
  20. James and Riley might make an interesting Elizabeth and Darcy in a traditional Pride and Prejudice, but this version? It’s dead on arrival.
  21. Loaded with so much drama that the story sinks into a grim, sloppy soap-opera mix.
  22. The characters, starting with Lewis himself, are downright obnoxious. Not counting those singing frogs or the time-traveling T. rex (with its big head and little arms), only Lewis' sad-sack roommate ''Goob'' is remotely sympathetic.
  23. It's a redundant comedy, like hearing the same tired joke for the 100th time.
  24. Mostly, though, The Big Bounce isn't offensive, or even terrible. It's just lazy, relying on numb moviegoers to fork over cash thinking they'll see the next "Get Shorty" or "Out of Sight."
  25. The movie is basically a love story between a man and his elephant, and if viewed as such, it's not nearly as ridiculous as the movie it first appears to be.
  26. No matter how much good will the actors generate, Showtime eventually folds under its own thinness.
    • 23 Metascore
    • 38 Critic Score
    Do not, under any circumstances, consider taking a child younger than middle school age to this wallow in crude humor.
  27. There's nothing so artistic about it as to attract the same art-house crowd that braved subtitles to discover "Nine Queens," and yet, it's professional enough that Spanish speakers will be glad to have a heist movie on par with "Rush Hour 3" or "The Pacifier" made in their native tongue.

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