Miami Herald's Scores

  • Movies
  • TV
For 3,116 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 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 War of the Worlds
Lowest review score: 0 The Man
Score distribution:
3116 movie reviews
  1. After a while, hearing Martin say ''Zee area eez zecure!'' doesn't cut it any longer, and that's pretty much all The Pink Panther has to offer.
  2. The remake seems to have been written and directed by people whose only experience with children is the long-distant memory of having been kids themselves so many years ago.
  3. 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.
  4. The problem with Men, Women & Children — and it’s a big one — is that the movie isn’t telling us anything we don’t already know.
  5. Crossing Over is a result of the sledgehammer approach writer-director Wayne Kramer (Running Scared, The Cooler) takes to his subject matter -- the same heavy-handed tactics that earned "Crash" three Oscars.
  6. No, it's the movie itself -- an unimaginative, generic affair memorable only for its incessant and flagrant plugging of Apple computers and iPods -- that should put a stake through the franchise for good.
  7. There's a delightfully promising premise behind Halloween III -- something's wrong with the kids' masks -- but somehow Wallace gets sidetracked, and the movie wanders away. [30 Oct 1982, p.D5]
    • Miami Herald
  8. Gives romance a bad name.
  9. If you try hard enough, you might be able to forget that the story doesn't make a lot of sense or provide adequate thrills, although it tries to scare you a couple of times in the cheapest possible way.
  10. The result is like a low-rent "Wizard of Oz" or "Labyrinth," sticking close to the formula of a kid who falls asleep and wakes up in a fantastical wonderland where everything's just a little bit off.
  11. Only genuinely talented people can make pictures this bad and misguided. “This whole thing is unacceptable,” Lil remarks at one point. That goes for the movie, too.
  12. Even the story-within-a-story structure doesn't pay off. This material needed more substance and ideas - and less flash and sumptuous production values.
  13. Don't waste your money.
  14. May not reinvent the wheel, but its expertly delivered thrills would hit the spot at any time of year.
  15. In an ironic twist, Mira Nair's big-hearted yet by-the-numbers biopic of Amelia Earhart never -- unlike the famous aviatrix -- takes chances.
  16. Played by Adrian Sparks in a style better suited for dinner theater or a Key West tourist attraction, Hemingway comes across as a complete cypher. Everyone in the film keeps talking about his genius, but other than a scene in which he writes a short story on the back of a napkin, the movie doesn’t try to humanize or explore his talent.
  17. If Annapolis is not the worst movie to date of this still-young year, it is certainly the most hackneyed, as well as the most depressing.
  18. A devastating disappointment. Badly acted, amateurishly directed and woefully unfunny.
  19. A surprisingly ambitious entry into a genre that felt bankrupt and over more than a decade ago.
  20. A forced and wholly unnecessary sequel.
  21. As a film, though, Gimme Shelter is unremarkable, a predictable story of redemption that happens awfully fast, to a girl who only seems to be in peril briefly — and has a rich dad to bail her out.
  22. 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.
  23. Isn't a total crock.
    • Miami Herald
  24. You come out with a sense you've seen it all before.
  25. Basically the first movie all over again, with plenty more of the bridge-jumping, rocket-launching action that audiences loved about the original.
  26. There’s a rollicking Wild West adventure buried deep inside The Lone Ranger, a bloated, mega-budget revival of the story of the iconic gunslinger and his Native American sidekick Tonto.
  27. Evan Almighty may not be enough to make you shout ''Hallelujah,'' but it's not the cinematic equivalent of a plague, either.
  28. With an exciting way out, the audience would have gladly overlooked all the loose ends from earlier in the movie. But the way Hall plays it, he undermines the early style and intelligence of his all-black action movie, taking audiences for the wrong kind of ride in the end.
  29. Charlie St. Cloud is primarily a vehicle to prove the actor can do more than dance and sing. It's more of a demo reel for Efron than a movie. His predominant fan base, though, won't mind a bit.
  30. A Jerry Bruckheimer production, which gives the movie a disquieting sense of stupidity.

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