Miami Herald's Scores

  • Movies
  • TV
For 2,890 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 Project X
Lowest review score: 0 Antitrust
Score distribution:
2,890 movie reviews
  1. Shyamalan takes the beloved Nickelodeon anime series -- the full title was Avatar: The Last Airbender -- and turns it into 103 minutes of overproduced, stilted nonsense.
  2. Raises a few questions -- like just what were they thinking?
  3. The film suffers from a severe lack of urgency and emotional engagement. You can't get involved in a movie in which the characters all seem to be harboring double identities.
  4. With such a large cast, none of the actors is able to turn her character into a fully realized person.
  5. Sitting through Little Fockers is a soul-sucking, dispiriting experience.
  6. This excruciatingly dumb, formulaic picture, which somehow required the work of four screenwriters but contains not even one single, fleeting moment of wit or humor.
  7. There's a startling moment 10 or 15 minutes into The Adjustment Bureau - the only time, really, when the film achieves any level of surprise. The dispiriting dullness of this dreary misfire hasn't had time to settle in and thicken: The movie hasn't yet revealed its utter and thorough ineptitude.
  8. According to legend, a silver bullet can kill a werewolf. Too bad it can't slay bad writing, without which the ill-conceived Red Riding Hood would not exist.
  9. British satire loses something when it's handled by Americans: You miss the perspective that a foreign culture brings, so instead of wit and humor, you end up trafficking in self-congratulatory clich├ęs and sentiment.
  10. A stiff, unconvincing epic.
  11. With Kaboom, Araki takes a huge step backward from the maturity and restraint he demonstrated in 2004's "Mysterious Skin," his best and most-assured film to date.
  12. The film will probably play a lot better in dorm rooms with plenty of beer kegs and bongs on hand, but in the confines of a movie theater, it's deadly - the sort of bad comedy Mel Brooks made late in his career, until he finally smartened up and quit.
  13. The Conspirator hits a new nadir for Redford: Sitting through this stage-bound, talky, stiffly-acted movie reminded me of having to endure the Hall of Presidents attraction at Walt Disney World (one of the few existing bits of proof that Disney had a dark and evil side).
  14. Even the most forgiving moviegoer will recognize this movie as the blatant cash-grab that it is.
  15. The tone is all over the place, which makes the movie difficult to take neither seriously nor as popcorn fluff.
  16. Every summer movie season usually has at least one spectacular, disastrous flame-out, and although the dog days of August still loom, I doubt there will come a big-budget blockbuster worse than Cowboys and Aliens.
  17. Momoa, a familiar face from "Game of Thrones" to "Baywatch," has the muscles but not the imposing persona and barbaric presence that Conan requires.
  18. The talented actors are game, but they are done in by the shallow nature of their characters, none of whom behaves in a manner remotely resembling real life (they don't really seem to be related, either).
  19. Abduction is a crass and lowbrow attempt to cash in on a young actor's heat - an exploitation picture where the person being taken advantage of is too young to notice.
  20. Why does The Big Year's trailer intentionally hide what the film is really about? Here's why: Because bird-watching - or birding, as practitioners prefer to call it - makes for a stupefyingly boring movie.
  21. Even a supporting turn by Vincent Cassell as Otto Gross, a fellow psychiatrist, cocaine addict and unapologetic adulterer, fails to enliven the movie: A Dangerous Method makes even a cokehead hedonist boring.
  22. Jack and Jill contains long stretches of squirm-inducing tedium in which Sandler riffs and ad-libs far longer than he should.
  23. This odious, hypocritical movie marks director David Gordon Green's graduation into full-on hack.
  24. You need lots of gifted people chasing after the same bad idea to make a movie as colossally misguided as Extremely Loud & Incredibly Close.
  25. Neeson is always compelling, even in a movie as ridiculous as The Grey.
  26. Man on a Ledge just made me think of an old Van Halen song: Jump.
  27. The action, which bookends the movie, is atrocious, defying all laws of gravity and physics and machine gun-edited into incomprehensible lunacy.
  28. This is the kind of colossally misguided vanity project.
  29. "The silence will kill you!" warn the posters for Silent House. That's only if the boredom doesn't get you first, though.
  30. The movie has an undeniable visceral power. It is also a loud, grating wallow in dime-store despair, a cheap and hollow button-puncher.

Top Trailers