Miami Herald's Scores

  • Movies
  • TV
For 3,031 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 Spider-Man 2
Lowest review score: 0 Testosterone
Score distribution:
3031 movie reviews
  1. In the House seems to be building toward a cathartic and unexpected finale. Instead, you get a baffling fizzle — an inexcusably limp and unimaginative conclusion that doesn’t bring a single plot strand to a satisfying end.
  2. The movie is supremely entertaining -- and often hilarious.
  3. Not about sex; it's about leaps of faith, at work, in love, in life.
  4. 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.''
  5. Beguilingly odd.
  6. The screenplay for 7 Boxes is a beautiful example of how to craft a tense and increasingly complex thriller out of a simple scenario.
  7. By giving the hero's inner plight so many dimensions, Superman Returns brings a richer, grander perspective to a seminal character without changing his essence. It's a profoundly personal take on a universal icon, made by a filmmaker who continues to improve with each movie.
  8. "Our self-esteem is wrapped up in it,'' admits actress Tracie Thoms (who sticks with a natural curly look). "A woman's hair is her glory,'' Angelou says.
  9. None of this is all that engaging. But the art design of the movie makes up for the slack story.
  10. There are few moments when you're not totally absorbed by the film.
  11. 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.
  12. The Coens feel out of step this time; they’ve lost their rhythm the way they did in The Hudsucker Proxy, where the style consumed the entire picture, turning what should have been humorous and snappy into a grating chore.
  13. More sour than sweet, but Steers knows that, even in a cruel, unsentimental world, there is room for forgiveness and hope. Just don't expect a hug.
  14. Star Trek Into Darkness gives you an exhilarating, tingle-inducing rush — that rare feeling that comes when a gigantic entertainment is firing on all fronts, exceeding your expectations.
  15. Saring, often funny comedy.
  16. Kiss Kiss, Bang Bang is a movie obsessed more with the act of telling a story than the story itself, which explains why, when the movie's finally over, less than half the audience will have understood the finer points of the mystery.
  17. 50/50 is crude and funny, and it demands that you laugh. And you will.
  18. The actors are talented enough to carry the movie, but they fade into the background once things grow dire, and the special effects take over. There's no sense of wonder or awe.
  19. There isn't a moment in the movie where you don't feel Spielberg's passion, and this time, the film is worthy of his enthusiasm. It's a knockout.
  20. For anyone interested in the art of comedy, it's a veritable primer on the vagaries of humor.
  21. Easy A is unnecessarily hard on the religious kids. Unlike "Saved," it uses broad caricatures of gospel-singing fanatics to get laughs, and the bug-eyed, over-the-top performance by Bynes (who apparently really should have retired after making this film) doesn't help matters.
  22. You feel terribly sad and angry at May's foolishness. Yet with so many emotions at hand, The Mother never fails to engage.
  23. 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.
  24. Sometimes engaging, sometimes amusing and ultimately surprising.
  25. 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.
  26. It's a funny, even whimsical film about a man who survives tragic times, complete with Nazis, pratfalls and plenty of mugging.
  27. 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.
  28. Carries an undeniable follow-your-field-of-dreams appeal.
  29. 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
  30. 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
  31. It has everything Oscar voters fall in love with: sweep, romance, accessibility and social conscience.
  32. What makes The Woodsman meaningful is Bacon's tortured suffering.
  33. 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.
  34. 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.
  35. 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.
  36. 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.
  37. 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.
  38. 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.
  39. 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.
  40. With Moore’s formidable, Oscar-bound performance, the picture transcends the usual cliches of the genre to become something far more moving and profound.
  41. Provides a few of the best thrills so far this summer.
  42. Celebrates a larger-than-life heroism that is, sadly, all too rare.
    • Miami Herald
  43. 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.
  44. The most amazing magic yet for the wildly popular franchise: It is genuinely engrossing.
  45. 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.
  46. Riveting.
  47. The stories touch our sensibilities, but the documentary never sugarcoats the childrens' experiences.
  48. Miraculously, the new picture makes the old one feel like Evans was just warming up.
  49. F/X
    F/X doesn't have the surprises when it needs them. [8 Feb 1986, p.C7]
    • Miami Herald
  50. A perfectly adequate horror romp, but it's hard to imagine anyone remembering it five years from now.
  51. 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.
  52. There's enough here to make anyone who enjoyed -- if that's the right word -- "Happiness" or "Magnolia" splendidly unhappy.
  53. Precious without ever being cloying, All the Real Girls is a wise, delicate and immensely touching romance.
  54. If I were 8, I would want to see it 800 times.
    • Miami Herald
  55. 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.
  56. Really a blistering satire about spin and the manipulation of the media.
  57. Certainly pleasant, but it's also a bit safe.
    • Miami Herald
  58. Never crosses over into meanness, and even the most satirical character has a moment of empathy.
  59. If it's not quite as funny as you want it to be, it's still more than enough to keep you entertained.
  60. A film more psychological than passionate, more mental than emotional.
  61. 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.
  62. 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.
  63. Tangled packs old-fashioned Disney magic as endless as Rapunzel's locks.
  64. Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.
  65. The movie is small and familiar, but this time, those turn out to be strengths.
  66. 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).
  67. The movie wouldn’t work, of course, without the chemistry between Hill and Tatum, an unlikely duo who share a tremendous charisma.
  68. 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
  69. 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?
  70. 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.
  71. 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.
  72. A warm, funny, engaging film by Patricia Cardoso that realistically portrays the struggles of many first-generation American women.
  73. McGrath has managed to turn Dickens into a cozy date movie. When was the last time anybody could make that claim?
  74. 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.
  75. 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.
  76. 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.
  77. 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
  78. A decent thriller made better by good performances and an intriguing setting.
  79. 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.
  80. The latest and loosest -- in the saucy sense of the word as well -- adaptation of (Austen's) sly comedies of uppercrust manners.
  81. The film is a brutally effective, insanely rousing piece of drama, with enough new wrinkles and ferocious acting to sweep you into its clutches.
  82. 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.
  83. 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.
  84. 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.
  85. 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.
  86. Never seen a murder mystery you couldn't outwit? Here is your movie.
  87. 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.
  88. Never shies from acknowledging the natural fascination with their abnormalities.
  89. Director Hector Babenco's sentimental, unconvincing adaptation of Varella's book, is a soft, simplistic look at a tough, complicated subject.
  90. Collateral is a small, modest movie writ large by people so talented, they aren't capable of anything less.
  91. 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.
  92. Energetic, nostalgic, occasionally troubling movie.
    • 71 Metascore
    • 88 Critic Score
    Great, multilayered family film.
  93. Who would have thought a German comedy could be light, charming and devoid of intellectual snobbery?
  94. Propulsive, hyper-violent and ridiculously exciting, Elite Squad: The Enemy Within can be described as "The Wire" transplanted to Rio de Janeiro.
  95. 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.
  96. 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.
  97. 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.
  98. 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.
  99. 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.

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