Miami Herald's Scores

  • Movies
  • TV
For 2,987 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Million Dollar Baby
Lowest review score: 0 Teen Wolf Too
Score distribution:
2,987 movie reviews
  1. 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.
  2. Sometimes engaging, sometimes amusing and ultimately surprising.
  3. Wreck-It-Ralph is a gorgeously rendered story that will play just as well to children as to their parents, albeit for different reasons. Playstation and Xbox junkies will be equally pleased.
  4. It's a funny, even whimsical film about a man who survives tragic times, complete with Nazis, pratfalls and plenty of mugging.
  5. Gangs of New York is many things, but a masterpiece is not one of them. It is primarily, and somewhat surprisingly, a poky western, with a vengeful orphan.
  6. Carries an undeniable follow-your-field-of-dreams appeal.
  7. All of Egoyan's movies have revolved around characters with damaged, fragile psyches, but rarely have they been illustrated as deftly -- and as gracefully -- as in Felicia's Journey.
    • Miami Herald
  8. A long overdue look at the man's art and an unself-pitying and unsparing exploration of her (his daughter's) relationship with him.
    • Miami Herald
  9. It has everything Oscar voters fall in love with: sweep, romance, accessibility and social conscience.
  10. What makes The Woodsman meaningful is Bacon's tortured suffering.
  11. Shame is fearless in the way the most ambitious art often is, and to write it off for what it doesn't do is reductive and misguided. You don't just watch Shame: You feel it, too.
  12. Like "The King’s Speech" or "Shakespeare in Love," The Theory of Everything sometimes feels a bit too polished and precise, leaving no room for ambiguity and always staying easy to digest, like elegant pap.
  13. This is neither the noir world of old '40s movies, of which he's clearly fond, nor something new and original enough to fit the concept. Instead, it feels like a blueprint for someone else to figure out.
  14. 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.
  15. The film has a rather charming way of convincing you that there are times to shrug off the caviar and champagne and go for a fulfilling bowl of spaghetti.
  16. The best moments in Walk the Line are the plentiful musical sequences, from Cash's initial foray into the Sun Records studio in Memphis, to his nights performing in high school auditoriums alongside the likes of Elvis Presley, Carl Perkins and Jerry Lee Lewis, to his landmark concert at Folsom Prison in 1968, where his dangerous, edgy persona was cemented.
  17. Match Point begins to recall Hitchcock as it unfolds, although it wouldn't be right to call it a thriller. This is still very much a Woody Allen movie, populated by upper-class characters who chatter about literature and fine art, frequent museums and designer boutiques and accidentally run into each other on the street with uncanny regularity.
  18. With Moore’s formidable, Oscar-bound performance, the picture transcends the usual cliches of the genre to become something far more moving and profound.
  19. Saring, often funny comedy.
  20. Provides a few of the best thrills so far this summer.
  21. Celebrates a larger-than-life heroism that is, sadly, all too rare.
    • Miami Herald
  22. As it spins along at a reasonably good clip - no one is going to mistake it for the slicker, more action-packed "Salt" - The Double unravels its secrets, which prove to be its undoing.
  23. The most amazing magic yet for the wildly popular franchise: It is genuinely engrossing.
  24. Director James Ponsoldt, who co-wrote the script with Susan Burke (inspired in part by her own experiences), opts for realism and modesty instead of sensation.
  25. Riveting.
  26. The stories touch our sensibilities, but the documentary never sugarcoats the childrens' experiences.
  27. Miraculously, the new picture makes the old one feel like Evans was just warming up.
  28. F/X
    F/X doesn't have the surprises when it needs them. [8 Feb 1986, p.C7]
    • Miami Herald
  29. A perfectly adequate horror romp, but it's hard to imagine anyone remembering it five years from now.
  30. Nothing about Leap Year plays out exactly like you expect, and Rowe prefers to send you home with enigmatic questions instead of clear-cut answers. You may not fully understand Laura, but chances are you won't be able to forget her.
  31. There's enough here to make anyone who enjoyed -- if that's the right word -- "Happiness" or "Magnolia" splendidly unhappy.
  32. Precious without ever being cloying, All the Real Girls is a wise, delicate and immensely touching romance.
  33. If I were 8, I would want to see it 800 times.
    • Miami Herald
  34. Tadpole was shot on digital video, and the images often look smeary and blurry, to the point of distraction. Then again, in a better movie, you might not have noticed.
  35. Really a blistering satire about spin and the manipulation of the media.
  36. The movie wouldn’t work, of course, without the chemistry between Hill and Tatum, an unlikely duo who share a tremendous charisma.
  37. Certainly pleasant, but it's also a bit safe.
    • Miami Herald
  38. Never crosses over into meanness, and even the most satirical character has a moment of empathy.
  39. If it's not quite as funny as you want it to be, it's still more than enough to keep you entertained.
  40. A film more psychological than passionate, more mental than emotional.
  41. The frustratingly uneven comedy Tropic Thunder has moments of full-on, bust-a-gut hilarity, along with long stretches where you can hear the crickets chirping in the theater.
  42. Craven ("Scream," "Nightmare on Elm Street") is already a legend in horror film circles, but this is the first time he has tried his hand at a slick, relatively bloodless suspense-thriller, and the genre suits him.
  43. Tangled packs old-fashioned Disney magic as endless as Rapunzel's locks.
  44. Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.
  45. The movie is small and familiar, but this time, those turn out to be strengths.
  46. In the movie’s best scene, Bisset lays into Depardieu with the rage and anger of a woman who has tolerated bad behavior for too long (there’s a fiery spontaneity to their verbal sparring that makes you wonder if the scene was improvised).
  47. Carpenter keeps it sweet. This means muting his fabled skills as an "action" director in favor of plumbing the cutes, and it means that Starman isn't the grown-up entertainment that it could have been. But it's not your everyday romance, either, and it's hard to hate. [14 Dec 1984, p.18]
    • Miami Herald
  48. A fat streak of melancholy courses throughout Young Adult - who would have guessed the sight of a Kentaco Hut, one of those one-stop conglomerations of Kentucky Fried Chicken, Taco Bell and Pizza Hut, could be this depressing?
  49. The solemn, morose tone of The Pledge also guarantees a quick box office death: This is essentially a movie about bad things happening to good people, and if you have any interest in seeing this beautifully made bummer, don't wait too long.
  50. If The Score isn't quite in the same league as the classic "Rififi" or even "Thief," its single-mindedness still makes for a refreshing change from the preposterous bloat of most contemporary action movies.
  51. A warm, funny, engaging film by Patricia Cardoso that realistically portrays the struggles of many first-generation American women.
  52. McGrath has managed to turn Dickens into a cozy date movie. When was the last time anybody could make that claim?
  53. 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.
  54. 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.
  55. Chemistry is one of the few things left filmmakers can't fake with CGI, and the dynamic between Craig and Mara in The Girl with the Dragon Tattoo is so sensational, it instantly propels the movie beyond glossy, high-toned pulp into something far more affecting.
  56. Though the charter of the Enterprise charges its crew to "go boldly where no man has gone before," the marketing strategy of Paramount Pictures clearly mandates that the film go quietly in a predictable fashion to a place where the mass audience will feel comfortable. This Star Trek II does, with its familiar faces and lovable homilies. The film seems bound to be one of the summer's big hits. Kids will love it, and dozing adults will at least find it endurable. [5 June 1985, p.C4]
    • Miami Herald
  57. A decent thriller made better by good performances and an intriguing setting.
  58. 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.
  59. The latest and loosest -- in the saucy sense of the word as well -- adaptation of (Austen's) sly comedies of uppercrust manners.
  60. The film is a brutally effective, insanely rousing piece of drama, with enough new wrinkles and ferocious acting to sweep you into its clutches.
  61. The film never allows any of its characters to fall into stereotype; they are complex creatures, full of anger and disappointment and passion, and even the weakest among them is not bereft of honor.
  62. If you need proof that the British are different from the rest of us, look no farther than the thought-provoking Separate Lies, a chilly, intelligent and absorbing drama about infidelity, ethics and forgiveness.
  63. Unfortunately, Ghobadi doesn't trust his film to convey the message that has already been clearly and entertainingly spelled out, and No One Knows About Persian Cats ends on a sudden note of tragedy that almost ruins the exuberant spirit of everything that has preceded it.
  64. The film lacks the menace and danger of Sendak's book, along with the beautiful simplicity and delicated, understated portrait of a lonely, misunderstood boy.
  65. Never seen a murder mystery you couldn't outwit? Here is your movie.
  66. Worth seeing for Dafoe's performance alone, a singular mixture of camp and pathos that echoes the tragic, romantic allure of vampires in literature and film.
  67. Never shies from acknowledging the natural fascination with their abnormalities.
  68. Director Hector Babenco's sentimental, unconvincing adaptation of Varella's book, is a soft, simplistic look at a tough, complicated subject.
  69. Collateral is a small, modest movie writ large by people so talented, they aren't capable of anything less.
  70. The movie's emotional impact is undeniable. It's a devastating portrait of smart, civilized people driven to behave in uncivilized ways, until it's too late.
  71. Energetic, nostalgic, occasionally troubling movie.
    • 71 Metascore
    • 88 Critic Score
    Great, multilayered family film.
  72. Who would have thought a German comedy could be light, charming and devoid of intellectual snobbery?
  73. Propulsive, hyper-violent and ridiculously exciting, Elite Squad: The Enemy Within can be described as "The Wire" transplanted to Rio de Janeiro.
  74. 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.
  75. If you're making a movie that purports to be about real love, at the very least, you have to make the audience care whether the lovers work out their problems.
  76. All the actors are strong, but Wilde is particularly good as the impetuous Kate, who doesn’t realize how incredibly selfish she has become. The actress’ great beauty could have been a distraction, but her performance is so complex and alive that she blends right into this world of ordinary, working-class people with modest aspirations who are trying to find happiness but often go about it in all the wrong ways.
  77. 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.
  78. Eventually, though, the monsters come out -- blind, snarling cave-dwellers, looking much like Gollum's bigger kin -- and The Descent becomes a simple exercise in guessing who, if anyone, will survive.
  79. Strong acting from Khoury saves the weak storyline.
  80. For filmgoers not interested in history, Sunshine might be a three-hour investment they may not want to undertake.
  81. The concert scenes in this biographical picture are some of its best moments — you’ll wonder just how long the actor had to practice to perfect all those splits — and Boseman’s charisma is irresistible.
  82. The Broken Circle Breakdown manages to pull off a small miracle, using joyous music and tenderness to tell a tragic story that moves you but doesn’t depress you.
  83. Never has the sight of naked women been so innocent.
  84. Slight but extremely effective, and its characters so engaging that even the sad finale, which is not entirely unexpected or original, manages to pack surprising power.
  85. In Year of the Dog, director Mike White willfully violates one of the great unwritten rules of Hollywood screenwriting: Kill as many human characters as you want, just spare the dog.
  86. This playful, immensely entertaining movie knows that art is in the eye of the beholder.
  87. Brutal and devastating.
  88. Despite its entertaining and insightful dialogue, can also be a bore.
  89. 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.
  90. Viewers with a strong stomach and an appreciation for surreal humor that borders on horror - the latest film from Spanish wildman Alex de la Iglesia (Perdita Durango, The Day of the Beast) is a must-see proposition.
  91. 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.
  92. Hilarious and socially astute.
  93. Ushpizin may not turn out to be as popular as Miracle on 34th Street, but if you believe that miracles can happen, it is a perfect outing during the holidays.
  94. It's all amiably hackneyed, but it sucks you in anyway.
  95. Past the foreign mysticism and eccentricity of Tibetan Buddhism to portray its characters as unmistakably, identifiably human.
    • Miami Herald
  96. A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
  97. An unusually vicious and unforgiving study of police corruption, Narc is a stylistic throwback to such classic 1970s cop dramas as "The French Connection" and "Serpico," with a 21st century helping of the old ultra-violence.
  98. Seductive, ultimately frustrating.
    • 70 Metascore
    • 88 Critic Score
    Penn's performance is easily the best ever seen in an Allen film.

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