Miami Herald's Scores

  • Movies
  • TV
For 2,955 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:
2,955 movie reviews
    • 43 Metascore
    • 50 Critic Score
    While intimate scenes of male bonding among Kirk, Spock and "Bones" McCoy are particularly delightful, the film's overall themes -- God, creation, friendships as family -- are never tied together or amply explained. Star Trek V is a lot like a dinner party where the appetizers are delicious, the main course stale and cold. [9 June 1989, p.5]
    • Miami Herald
  1. The dance numbers grow tiresome after a while, and director/screenwriter Ramon Salazar throws in so many calculated oddities that it's impossible for anyone to become too attached to his characters.
  2. Eventually, though, Seeking Justice devolves into the usual business of chases and elaborate double-crosses that leave behind all vestiges of realism for the sake of popcorn thrills.
  3. Turns out to be a more disappointment than joyful reunion, a tedious and desperately drawn-out affair that tests your patience even as it brazenly courts (and often earns) your contempt.
  4. The entire point of Carnage is to poke fun at the fragile civility of the upper-middle class - they're all animals inside! - but how much more fun would this material have been if the story hadn't been about polite white people?
  5. Worst of all, nothing happens that we don't see coming. Nothing. If, as Nathan seems to believe, surprise is a crucial element in any campaign, then The Last Samurai might win a battle or two for your attention but is doomed to lose the Oscar war.
  6. All the right elements for a rollicking farce, except one: The movie isn't funny.
    • Miami Herald
  7. Mostly honest in its portrayal of teen sexuality -- it exists, whether we like it or not -- but also offers up the troubling notion of teen pregnancy as romantic and magical.
  8. Taking a lightweight comedy such as this seriously is probably a fatal error, but there's no way around it: This House is built on a shaky foundation.
  9. Although it deals with some monumental themes, Mademoiselle Chambon also feels wispy and inconsequential.
  10. 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
  11. The problem -- aside from the fact that one of the best things about Foer's story is its irreverent, intricate, just-maybe-brilliant writing -- is what Schreiber has decided to cut.
  12. The script is riddled with so many clichés, you count on the battle scenes to wake you from your stupor.
  13. Hollow and pointless.
  14. It's whenever the music stops that the movie runs into trouble.
  15. What The Long Day Closes lacks is a narrative thread, however slim, to match the perfectly realized setting and wonderful visuals Davies has crafted. The whole thing feels like a chapter of a much larger work, one that, if finished, would doubtless prove more intriguing than what we get here. [7 Aug 1993, p.G5]
    • Miami Herald
  16. Moves too slowly, running out of gas in the later rounds of the plot.
  17. Freddy simply isn't as scary as he used to be, even though Jackie Earle Haley, taking over from Robert Englund in the role, plays Krueger essentially straight, keeping the one-liners to a minimum.
  18. Too much of this lame comedy feels like it was written to satisfy a contract, with gags (like the business with the perpetually horny dog or the toddler who knows sign language) that are way beneath the talents of this cast.
  19. The movie tends to lapse into soapy melodrama and heavy-handed preaching whenever possible, and the feel-good ending that appears out of nowhere essentially negates a lot of what has preceded it, adding one more moral to a movie already weighed down by life lessons.
  20. Although a happy ending is preordained, at least Joe Forte's script takes the less-obvious route there.
  21. As the character grows soft and sentimental, so does La Soga, and the film's edge is terminally dulled by an avalanche of cliches and schmaltz.
  22. The relevant question is: does it rock? And the answer, unfortunately, is no.
    • Miami Herald
  23. It's a cheery, impossible fantasy.
  24. Despite its contemporary-sounding anti-French cracks, could easily have been made 20 years ago.
  25. A shrill and gaudy comedy about the quest for celebrity.
  26. In I'll Sleep When I'm Dead, the night grows long while your eyelids grow heavy.
  27. A lazy, self-satisfied piece of work -- a comedy made by people who think so highly of themselves, they assume they'll get a laugh just by showing up in front of the camera.
  28. This Carrie becomes less involving as it goes along, ceding its emotional power to special effects and unconvincing gore, and culminating with a closing shot so lame and uninspired, it’s as if the filmmakers just gave up and called it a day.
  29. Something about the sequel, Garfield: A Tail of Two Kitties, doesn't seem nearly as obnoxious as the original.

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