Miami Herald's Scores

  • Movies
  • TV
For 3,234 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 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inglourious Basterds
Lowest review score: 0 Teen Wolf Too
Score distribution:
3234 movie reviews
  1. Diary of the Dead is at its best when Romero is just goofing off, like when he shows us home video footage of a children's birthday party.
  2. Remains naggingly hollow, a cerebral exercise in whimsy that isn't nearly clever or funny enough to seem like more than grand self-indulgence.
  3. Freedom Writers is prone to throwing in unnecessary plot developments, so it never quite succeeds as anything more than "Dangerous Minds" Redux.
  4. Unstoppable is the slowest, talkiest movie you'll ever see about a runaway freight train loaded with toxic chemicals.
  5. While patience is a virtue in a marriage, we shouldn't need quite this much to make it through a movie.
  6. The sad thing about Rising Sun is that for all the controversy surrounding the book, it plays as just another cop drama set against an alien landscape. As so often happens in Hollywood these days, the alien locale is Los Angeles, an L.A. under assault from within and without. Rising Sun the movie doesn't have all that much to say about that condition. It sticks to the safe stuff. [30 July 1993, p.G4]
    • Miami Herald
  7. You come out with a sense you've seen it all before.
  8. There’s nothing more to this movie than the set-up. Even though Cypher is slowly bleeding to death, and Kitai is running out of oxygen capsules that allow him to breathe in the toxic air, there’s no sense of urgency, either. At least Shyamalan, sensing the thinness of the material, doesn’t stretch things out.
  9. As long as the movie's set in Mexico City, The Matador is a slick and entertaining black comedy, but the instant Danny heads back to Denver, it comes flying apart at the seams.
    • 52 Metascore
    • 50 Critic Score
    If Andrews oozes regal poise and Hathaway radiates movie star allure -- and they do -- credit the actresses, not this flimsy fairy tale.
  10. The payback in Law Abiding Citizen doesn't have a cathartic kick, because the revenge is so extreme it's horrifying.
  11. Even if you can get past the acting -- and in the case of the beautiful, blank Alba, that's asking a lot -- the film just sits there, not exactly torturous, but never very exciting, either.
  12. Midlands finds some measure of success in its use of regular, real-looking people -- as opposed to the oddly glamorous characters who turn up in most romantic comedies -- but it's as though the writer used up all the personality traits before he got to Shirley.
  13. Often feels choppy, as if chunks of connecting narrative had been lopped off in the editing room.
  14. From a purely cinematic standpoint, The Underneath is Soderbergh's most daring work yet, full of elliptical flashbacks and fast-forwards; ominous camera angles and cinematic tricks. But Soderbergh's movies (sex, lies and videotape, Kafka, King of the Hill) have always been cunningly smart, and The Underneath is not. [28 April 1995, p.5G]
    • Miami Herald
  15. Micmacs is a wan fizzle of a fantasy, a spirited, imaginative spectacle that never quite takes flight.
  16. 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.
  17. The movie isn't really about America and Japan at all; it's about set-ups for gags. [14 Mar 1986, p.D2]
    • Miami Herald
  18. What The Bank Job ends up stealing is all your precious time.
  19. The players are game. Too bad they don't have much of a coach or a plan.
  20. Something we've all seen before, far too many times, not only in its premise but also in its lame parade of scatological jokes and its sad, tired pratfalls.
  21. The film isn’t overlong. But it tries to fit so many themes into its brief running time — that it merely touches on most conflicts instead of exploring them in depth or with any delicacy.
  22. The picture is perfectly watchable but rarely compelling, because the filmmakers are too timid to take any chances.
  23. Flat and forced, Jakob the Liar aspires to be a poignant parable about the power of hope but instead uses one of humanity's greatest tragedies for trite melodrama.
  24. Unfortunately even a clogging Timberlake can't stop the movie's march to a conveniently happy ending. Nor can he block the flow of psychobabble. It's enough to make any fan beg: Play ball. Please.
  25. Jackson has become too distracted by his digital toys to give his characters the same weight and importance he used in the Rings trilogy.
  26. Unfortunately there’s far too little magic in this clumsy attempt to marry fantasy and realism; the film doesn’t have the grace or imagination to bridge the gaps between the two.
  27. Has an elegant feel, with beautiful shots on the beach and engaging camera work. If only Philip Jayson Lasker's writing could match that.
  28. The themes of A Home at the End of the World are all of the greeting-card variety -- home is where the heart is, family is what we make it, etc. -- and while they've been presented with great warmth and sincerity, they still come off as more than a little banal.
  29. The guys are more amusing than not, and they display the easy chemistry of real-life pals.

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