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 Spotlight
Lowest review score: 0 The Man
Score distribution:
3031 movie reviews
  1. Year One is not really THAT bad and not ENTIRELY without laughs.
  2. It's a perfect role for Jolie, whose seductive looks always seem to be concealing something dangerous, even predatory, and she brings out a looseness in Pitt, who fares much better in comedic roles than when playing things straight and stoic (i.e. Troy).
  3. When Ephron gives Ferrell and Kidman a musical number that's supposed to be sweet and uplifting, the movie feels downright creepy.
  4. There was a fine family drama to be made here, but what we get instead is too sweet to swallow.
  5. The movie is sloppy and scattershot, and proud of it. It wears its slipshod, anything-for-a-laugh structure like a badge of honor: Smith is nothing if not self-deprecating.
  6. Six years after its release, "City of God" is still electrifying and fresh: It hasn't aged a bit. City of Men, though, already feels strangely stale.
  7. It's much easier to linger on his youthful idealism than on how that idealism eventually manifested itself. It certainly makes for a much prettier picture. But when your subject is Ernesto ''Che'' Guevara, it is disingenuous.
  8. A psychological thriller in serious need of both psychology and thrills, Cassandra's Dream is a wan, exceedingly minor drama by Woody Allen, who has started to recycle himself in London the way he had long been recycling his New York City pictures.
  9. Frothy as it is, SATC2 is best when it's about the women, not the wardrobe.
  10. The film's opening credits are terrific, and the first 10 or 15 minutes -- in which Ford and Arthur speedily load up on beer at the local pub -- are absorbing and funny. It's such a promising start that it's doubly deflating to realize that once they land on Zaphod's spaceship, the humor vaporizes.
  11. Late Marriage's stiffness is unlikely to demonstrate the emotional clout to sweep U.S. viewers off their feet.
  12. Next begins to seriously embarrass itself and its stars -- except for Biel, surprisingly, who manages to escape with a shred of dignity, possibly because her role requires little beyond looking gorgeous -- once it rolls to its climax.
  13. While Circuitry has its pleasures, it's not as intelligent as "Modulations," a previous documentary on the subject, and its focus is a bit skewed.
    • Miami Herald
  14. 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.
  15. Smart People tastes as fake as a Wal-Mart corn dog. Besides, it doesn't even know the work is Faerie Queen, not ''Fairie.'' Somewhere, Edmund Spenser is turning in his grave. You don't even have to be smart to know that.
  16. Despite its entertaining and insightful dialogue, can also be a bore.
  17. This is precisely the type of moviegoing experience engineered for those who still get a laugh when the Baha Men hit "Who Let the Dogs Out?" accompanies a doggie mayhem montage.
  18. Turns resoundingly dumb in its last 40 minutes.
    • Miami Herald
  19. Suffers from a fatal lack of purpose. This sleek, visually inventive but frustratingly flat movie is made up entirely of throwaway bits -- occasionally amusing, even ingenious bits. But still, they're just bits.
  20. The biggest offense in the somewhat unimaginative but serviceable legal thriller High Crimes is that the venerable Morgan Freeman simply does not get enough screen time, and when he's up there, he doesn't have enough to do.
  21. Certainly pleasant, and occasionally endearing, but it's also strangely empty and unsatisfying, like hearing about someone else's wild dream: You can appreciate the details, but you don't really care how it turns out.
  22. Great actors can do more than carry a movie on the strength of their performances: They can also elevate it to a height it does not necessarily merit, and for much of In the Valley of Elah, Tommy Lee Jones does exactly that.
  23. Like binging on a bottomless box of truffles: Tastes good and sweet at first, but after a while, you start feeling a little green.
    • Miami Herald
  24. Emotes mightily but says precious little.
    • 46 Metascore
    • 50 Critic Score
    If only director Shawn Levy and the screenwriters had gone for cute and interesting instead of dull and cloyingly sentimental.
  25. Aside from the thin characterizations, The Eagle never manages to convey the importance of the heroes' quest.
  26. A formulaic and didactic but good-hearted and sometimes amusing underdog sports yarn and plea for social acceptance.
  27. The best scenes in the movie belong to James Belushi.
    • Miami Herald
  28. Bottle Shock often feels out of place on the big screen, but it would probably play a lot better as a weekly half-hour TV show.
  29. The entire movie rides on Paul Kaye's performance.
  30. The Brothers Grimm gives you plenty to look at, but it's not much to see.
  31. A continuous parade of slaughter.
  32. A filmmaker like John Sayles ("Sunshine State") who shares Hiaasen's issue-conscious outlook might have framed the lesson a bit more eloquently. But Shriner blows it.
    • 57 Metascore
    • 50 Critic Score
    Classy voice work (intriguingly, the hero, heroine and villain are all voiced by black actors -- Chris Rock, Brandy and Laurence Fishburne)
  33. The movie is an exceedingly slight tale whose entire second half consists primarily of special effects and wonderful set designs.
  34. An artsy bore.
  35. Although the picture is nominally the story of a man with a murderous temper, it is less a thriller than a metaphor for the plight of illegal immigrants.
  36. This laborious, talky, fleetingly engaging, ultimately silly picture is about as good a movie as anyone was ever going to wring from Dan Brown's inescapable bestseller.
  37. You can only string an audience along for so long with scary masks and sudden appearances at the window, and after a while, the suspense starts seeping out of The Strangers, because you realize that's all there's going to be to the movie.
  38. If nothing else, Broken City manages to pull off a difficult feat: It's too convoluted to follow and simultaneously too simplistic to be believed.
  39. Evans – always a reliably dynamic and vivacious screen presence – can't do much to bring the character to life. As far as superheroes go, Cap remains a bit of a stiff.
  40. The effort is earnest, but the plot turns more and more implausible.
    • Miami Herald
  41. Sobieski manages to make Jennifer's inevitable transformation more than a little bittersweet. Apparently even clichés click sometimes.
  42. There's no real artistry to this: It's as though Parker has just seen "Seven" and suffered some sort of David Fincher flashback.
  43. Compare Sylvia to another, more powerful film about a tragic literary death: "Iris," about Iris Murdoch's descent into Alzheimer's, leaves you with an aching heart and reddened eyes. After the equally sorrowful Sylvia, we are entertained but unmoved.
  44. While We’re Young starts off as an empathetic, funny look at middle age and winds up as profound and schematic as a Neil Simon play — or, for the younger set, an episode of "The New Girl."
  45. The Fountain is probably too muddled and half-baked to even attain cult status -- but you can still see what writer-director Darren Aronofsky was striving for, and even if his reach exceeded his grasp, his intentions were both admirable and worthy of respect.
  46. Where the book was preciously and carefully crafted, the movie just feels precious.
  47. After a funny, highly promising start, Don't Come Knocking starts to fall apart, displaying all of Wenders' weaknesses, too.
  48. The movie is pleasant overall and occasionally comes up with a big laugh. When the movie's over, though, it evaporates from memory, just like a one-night stand that didn't go nearly as well as you'd hoped.
  49. The Good Shepherd, for all its noble intentions, manages to make even espionage boring.
  50. The film improves once the assassination attempt goes awry, but the audience is never truly invested in the actions of these heroic men.
  51. Though there's some wit on the fringes (including splendid use of a Reagan stump-speech line), the whole thing plays a lot like a Miami Vice via Star Trek. [7 Oct 1988, p.E10]
    • Miami Herald
  52. On the Line's cutesy premise is no more ridiculous than that of most romantic comedies.
  53. James Franco looks more bored and distracted in Rise of the Planet of the Apes than he did when he was hosting the Oscars: Watching the movie, I kept waiting for him to pull out his iPhone, aim it at the camera and take a snapshot while mugging sheepishly. Has there ever been a film with a less engaged protagonist?
  54. The film's failure to adhere to one of the most important rules of humor -- never give extensive screen time to someone who is not the slightest bit funny -- prevents it from being a completely enjoyable, if silly, romp.
  55. Don't expect perfection, and you'll emerge from this goofy movie all in one piece, with reasonably entertained kids and a milder headache.
  56. The movie wants to be an exploration of family ties and the various ways in which the people we love respond in times of crisis, but the drama is unconvincing, the characters are ill-defined, and Fischer, so good on The Office, seems a bit incomplete without Jim at her side.
    • 30 Metascore
    • 50 Critic Score
    Not as bad a movie as it sounds, just mediocre.
  57. Fascinating in concept but a disaster in execution.
  58. Everyone, including the candidates, will recognize the importance of civic duty, leaving Swing Vote to end with swelling music and uplifting speechifying but on a completely unsatisfactory note.
  59. Stone isn't the straightforward thriller it appears to be, but the alternative turns out to be dull and lifeless. At least the title is apt: Like a rock, Stone has no pulse.
  60. You might call My Sister's Keeper manipulative, and you would not be inaccurate.
  61. A pastiche so derivative and pointless, it leaves you wishing Allen had not bothered.
  62. Starts out feeling formidable in scope and theme but ends up awfully small and precious.
  63. The fact that you won't remember any of these names for more than a minute should indicate exactly how much depth each character displays.
  64. The last 40 minutes test your patience -- and intelligence -- in a way the rest of this big, dumb, crazy movie never does:
  65. The movie is intentionally elusive, like a memory you can’t quite fully recall, but the result has all the depth and weight of a greeting card.
  66. Neurotic New Yorkers, messed up relationships, inept analysts, infidelity -- Ira & Abby has them all, and it's anything but refreshing to trudge through this well-worn territory again.
  67. Suffers from an episodic script and an overly long running time plagued by too many dull, laugh-free patches.
  68. It's all very sweet, but the film goes in too many directions.
  69. Here, finally, is a superhero movie your AP English teacher can enjoy.
  70. The cast, which includes Kim Cattrall (Sex and the City) as a coach who pushes her daughter too hard, is likable and energetic, and the film's messages are entirely reasonable.
  71. A muddled fantasy revolving around a really good cruise ship piano player, doesn''t live up to its title.
    • Miami Herald
  72. There's a fine little western lurking inside Open Range: Too bad it gets drowned out by director Kevin Costner's pretentiousness. Almost everything in the movie feels inflated, overblown, drawn out.
  73. Hugh Grant and Sarah Jessica Parker are supposed to pass for a married couple, but they have all the chemistry of two actors who just met and shook hands moments before the cameras rolled. They don't even seem to like each other much.
  74. The Avengers has a knockout final 30 minutes, all gee-whiz crash and bang and eye candy that makes grand use of 3D and IMAX and all the other toys. But the Transformers movies did that, too.
  75. As it is, Gemma Bovery is as dry as day-old bread: Not inedible, but why bother with it if you can find something fresher?
  76. Unlike this summer's compulsively watchable "Hustle & Flow," Get Rich or Die Tryin' captures none of the thrill of finding your voice, recording a demo or landing a concert.
  77. If nothing else, the movie proves even the rich and famous make boring home videos.
    • Miami Herald
  78. The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
  79. A facile treatment of a complicated subject.
    • Miami Herald
  80. If nothing else, You I Love delivers a brisk and spirited little taste of contemporary Russian culture through the eyes of three spontaneous, unpredictable and oddly charming characters.
  81. Most of Wells' details are there, and so is the basic premise, but the soul of the thing -- the point -- is missing.
  82. The film is well-scrubbed of anything resembling sexuality, more a nonthreatening fairy tale than the romantic drama it aims to be. Its appeal flies straight to the hearts of 13-year-old girls.
    • Miami Herald
  83. John Wick reminds you this actor deserves better. Reeves makes the movie entertaining in a background-noise way, but he can’t give it any gravity, even when the filmmakers pull the cheapest trick in the book to get the audience to root for the hero and hiss at the Eurotrash villains. Someone get this man some good work, quick.
  84. The only thing the movie lacks is a pulse.
  85. Notorious excels at showcasing Wallace's music and his magnetism as a performer: It fares less well at giving that music a proper context.
  86. Oh, what a hollow experience Dark of the Moon is! Bay is so afraid of boring his audience, he pitches every scene at the same high volume right from the first shot, and the effect is exhausting.
  87. Casanova doesn't seduce so much as lull the audience into a stupor with tedious blather about the battle of the sexes, intermittent but pointless swordplay and clumsy slapstick.
  88. The good news is, The Vow is not excruciating.
  89. A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
  90. This might have been OK for cable, but as a night out at the movies, it feels like a bit of a cheat.
  91. The Runaways ultimately feels too lethargic and conventional for the wild story it tells.
  92. The misery is there, all right, in every woozy, spaced-out shot of Hoffman clutching his gas-soaked rag. But in the end, do we really care?
  93. Better than you might expect despite its awkward, slow beginning, drawing you in gradually and paying off in surprisingly effective and bittersweet ways.
  94. Basically the first movie all over again, with plenty more of the bridge-jumping, rocket-launching action that audiences loved about the original.
  95. Jarmusch has never seemed quite this baffling -- or quite this dull.
    • Miami Herald
  96. Too much of this well-acted but dangerously slow thriller feels like a preamble to a bigger, more complicated story, one that never materializes.
  97. xXx
    XXX may be a celebration of jock culture stupidity, but it's also guaranteed not to produce any ZZZ's.
    • Miami Herald

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