Miami Herald's Scores

  • Movies
  • TV
For 2,963 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 The Untouchables
Lowest review score: 0 Teen Wolf Too
Score distribution:
2,963 movie reviews
  1. Director Kim Jee-woon's astonishing story of a serial killer who picks the wrong man's fiancée to murder, is so extreme and intense that it had to be trimmed down in its native country before it was released to theaters. We lucky westerners get to see it in all its hair-raising, stomach-churning glory, and that's a wonderful thing.
  2. Beautifully textured and layered movie.
  3. As film noirs go, this one is a classic.
  4. JFK
    JFK is staggering in its power. [20 Dec 1991, p.5]
    • Miami Herald
  5. This delicate, transporting movie, which keeps dialogue to a minimum to tell its story primarily through images, is also a triumph of sheer cinematic craft that mirrors its characters' contemplative natures while extolling the virtues of lives simply led.
  6. 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.
  7. A film of this sort demands superb, seemingly effortless acting, and Holofcener gets it at every turn.
  8. A film of rare beauty, lifted by some of the best acting you may see in any film this year.
  9. Gripping, made more intense by the knowledge that all is true.
  10. In Captain Phillips, director Paul Greengrass pulls off the same remarkable feat he accomplished with "United 93": He takes a true story in which the outcome is already known and transforms it into a gripping, wrenching, devastating thriller.
  11. I Am Love is a bold and thrilling masterpiece -- the introduction of a major talent to the world's stage.
    • 70 Metascore
    • 88 Critic Score
    Penn's performance is easily the best ever seen in an Allen film.
  12. The moral of Irreversible -- time destroys everything -- isn't nearly as profound as writer-director Gaspar Noé seems to think it is, which is why some critics have already dismissed the movie as the facile, misogynistic posturings of a provocateur.
  13. The movie is supremely entertaining -- and often hilarious.
  14. Campos, a cinematic disciple of Stanley Kubrick and latter-period Gus Van Sant, opts to let the movie do the talking for him. The fact that this is a film of few words only adds to its hypnotic, relentless pull.
  15. 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.
  16. Coriolanus is not by any stretch a hero, and yet Fiennes makes him magnetic, a warrior you can't look away from even when you might want to.
  17. The movie plays out as a series of memories, so exact and evocative that watching it becomes an immersive experience.
  18. So deliciously absorbing and well done.
  19. Profoundly hopeful and optimistic film.
  20. Murderball invokes fascination toward its protagonists, because it views them with the same confidence and acceptance they view themselves.
  21. Gravity is a celebration of the primal pleasure of movies: It shows you things you’ve never seen before, transports you out of the theater and out of your head, tricks you into believing what’s happening on the screen is happening to you.
  22. Foxcatcher is too cold of a movie to love, but that chilliness is intentional and transfixing, a parable about the darkest corners of the minds of men that dares to whisper instead of shout.
  23. If you found "Crouching Tiger" a stunning bore, you probably won't fall under Hero's spell. But the rest of us, well, we'll be more than happy to savor every moment of its strange, ravishing beauty.
  24. Poltergiest is no nonstop scream express; at times it pulls its punches (Spielberg wants that PG rating), and at times its effects are bigger than life and less than terrifying. But like Spielberg's Jaws, which was a perfect genre movie, Poltergeist does what it's supposed to do about as well as it can be done.
  25. Wild may sound like a film about redemption, but it’s more about learning to live with what you can’t control — and accepting what you can control, which is sometimes just as difficult.
  26. It showcases one of Whedon's greatest strengths: his ability to take previously disrespected genres - in this case the slasher film - and turn them inside-out and upside-down and every which way but loose.
  27. Herzog himself is one of the great lunatic directors of our century, a mad genius who repeatedly attempts to challenge nature and the gods in his own films.
  28. That broad range of subject matter is indicative of the messy, meandering structure of the movie. But if Moore fails to tie this unwieldy movie into a lucid thesis, at least every tangent he chases down has its own payoff.
  29. Groening doesn't judge the monks' actions, nor does he tell us much about their reasons for choosing such a life. Yet the film brings us into their lives not as an observer but almost as a fellow hermit, making you realize how hard -- or easy -- it would be to commit yourself to such a life.

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