Miami Herald's Scores

  • Movies
  • TV
For 3,261 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Up in the Air
Lowest review score: 0 Another Gay Movie
Score distribution:
3261 movie reviews
  1. Here is a crime drama that punches you in the gut, full on, and dares you not to blink.
  2. A very complicated movie. It is also pretty wonderful.
    • Miami Herald
  3. One gigantic pile of cornball clichés, but there's no denying the movie works you over anyway.
  4. It's a powerful argument for optimism.
  5. This is more of an exercise in experiential cinema, as well as a blistering critique of a society that drives its poorest to unimaginable acts for mere survival.
  6. There's nothing in Bounce you haven't seen before, but the movie is surprisingly unsentimental, the Paltrow factor cannot be denied.
    • Miami Herald
  7. A sweet reminder of their lost and lively world.
  8. Scorsese has crafted a luxurious entertainment that goes down like a flute of sparkling, silky champagne.
  9. The strained, strange relationship between father and son ultimately becomes the emotional center of The Clan, culminating with an astonishing closing shot guaranteed to induce startled gasps. It’s a great, jarring moment that is the work of a filmmaker clearly in love with his craft — and a flavor for the darker side of human nature.
  10. A big, rambling, entertaining love letter to the late Hunter S. Thompson.
  11. There's a terrible beauty to the work of Larry Clark, the controversial photographer turned filmmaker, that transcends chic nihilism.
  12. Corbijn makes the familiar strange, focusing on details other filmmakers would gloss over.
  13. Compared to manipulative tearjerkers like "Pay It Forward" or "Men of Honor," Billy Elliot is a model of restraint, one that earns its warmth the hard way -- by making us care about the people who are going through familiar steps.
    • Miami Herald
  14. This Is the End is a marvelously sustained, high-wire goof – a movie so nutty and daring, so crazy and out-there, that it feels like a low-budget independent except with big stars and a sizable budget.
  15. Craven ("Scream," "Nightmare on Elm Street") is already a legend in horror film circles, but this is the first time he has tried his hand at a slick, relatively bloodless suspense-thriller, and the genre suits him.
  16. The first of this summer's would-be blockbusters that deserves to be a hit.
    • Miami Herald
  17. Every time Riding Giants starts feeling a little too insidery for casual viewers, along comes another, even bigger wave, daring these puny mortals to conquer it.
  18. Not an ordinary film.
  19. ATL
    Buoyed by a superlative soundtrack, ATL plays a familiar song about growing up, but hits notes that sound brand new.
  20. Director Lone Scherfig (An Education) doesn't have such luxury, but she infuses her snapshots of their relationship with humor and poignancy.
    • 70 Metascore
    • 75 Critic Score
    Never really more than an amiable Cinderella story, but it leavens its subject with such heart, such idealism and such pure eroticism that it's nearly a total success.
  21. There are no "Crying Game" switcharoos or "Sixth Sense" plot twists in store here. But knowing too much about Catfish beforehand ruins the experience.
  22. The sci-fi thriller Repo Men gets off to a sluggish start. But wait. You have to give the movie time to find its groove and establish its premise.
  23. The fact that Garland manages to cram in speculative ideas about the perils of a society that relies too heavily on technology is a bonus. In Ex Machina, love hurts, big time, for man and machine alike.
  24. Unlike last year's "Coco Before Chanel," in which Audrey Tautou played a warmer, kinder spirit, Mouglais presents her character as steely and unbending, a woman who has built her empire on her terms and refuses to abdicate the slightest control on her life.
  25. Ushpizin may not turn out to be as popular as Miracle on 34th Street, but if you believe that miracles can happen, it is a perfect outing during the holidays.
  26. Unexpectedly funny, leisurely paced and oblivious to the demands of its genre, Inside Man has a loose, playful vibe that's at odds with its grave life-and-death scenario.
  27. Not the kind of documentary that will appeal to a large number of moviegoers. Yet it makes perfect sense that it will be shown on the campus of University of Miami, famous for its strong medical school.
    • Miami Herald
  28. Baghead will disappoint gore hounds or anyone looking for an extreme horror experience -- this is more of a comedy-drama than anything else.
  29. The casting is the key to the success of this absolutely hilarious crowd-pleaser.
  30. Tangled packs old-fashioned Disney magic as endless as Rapunzel's locks.
  31. A fresh breath of air, warmer than the icy village in which it takes place. You'll leave the theater with a wink and a smile.
  32. It makes you laugh and eagerly wish for a happy ending without any preachy soul-searching. As a bonus, it's got a Van Morrison-friendly soundtrack, and the trailers haven't revealed the best parts.
  33. A fascinating record of how the movie fell apart, piece by piece, with everything short of a natural disaster conspiring against the filmmaker.
  34. Where Planet Terror is all hollow, self-conscious homage, Death Proof is the work of a director striving to make something original while remaining true to the movies that influenced him. It is also, once it gets going, terrific, sensational fun -- precisely the vibe Grindhouse aims for, but only sporadically attains.
  35. This is a dark and shivery story about motherhood, a common subject for horror movies, but one that’s rarely treated with such intelligence or seriousness of intent.
  36. The documentary also has a story to tell, and as such it builds up its drama.
  37. If The Score isn't quite in the same league as the classic "Rififi" or even "Thief," its single-mindedness still makes for a refreshing change from the preposterous bloat of most contemporary action movies.
  38. But as Western analogies go, Curse achieves an emotional fervor more in keeping with ancient Greek mythology than Elizabethan theater.
  39. The Visitor is a small movie, but its emotions could not be writ any larger.
  40. The biggest surprise in the cheery, delightful Love Actually is its lively, edgy, slightly blue sense of humor.
    • 78 Metascore
    • 75 Critic Score
    The acting, along with a wonderfully witty script and more madcap plot twists than a gaggle of Hitchcock films, lets Ruthless People ruthlessly overshadow its summer comedy competition. In Ruthless People, Midler at long last is allowed a full stretch of her talent and is given a chance to be both the actress and the funny lady. [27 June 1986, p.D8]
    • Miami Herald
  41. A perfectly cast Keanu Reeves pokes deadpan fun at himself in the role of Justin's New Age dentist, who hypnotizes the kid and encourages him to find his inner ''power animal.'' And Vince Vaughn, in a rare straight turn, is excellent as Justin's high school teacher.
  42. What makes this documentary worth seeing is the sensational courtside footage taken with IMAX cameras, which bring a whole new way of seeing the game to fans who don't get to sit in Jack Nicholson's section.
    • Miami Herald
  43. Never becomes cloying, because although Agresti does not lose sight of the great sadness at the center of his tale, he resists the temptation to overplay its bigger moments.
  44. In addition to the interesting camera work, the documentary's undeniable appeal comes in how close Longley gets to the characters, who are all male.
  45. What distinguishes The Orphanage are some spare but fiendishly well-placed shocks that give the film an extra sense of danger: You can't take comfort with this one assuming you know what lurks around each corner, because you don't. Trust me.
  46. Tilda Swinton is the star of We Need to Talk About Kevin, and her performance is so complex and volcanic and transfixing that all of the film's flaws melt away.
    • 64 Metascore
    • 75 Critic Score
    Yes, the Muppets are back with a yo-ho-ho and a ship full of fun. Director Brian Henson transforms Robert Louis Stevenson's classic into a splashy spectacle with sword fights and flamboyant calypso numbers. [16 Feb 1996, p.6G]
    • Miami Herald
  47. At times it doesn't make a lick of sense, and at times it's as shaky as a Poindexter memory. But it's full of goofy developments and paranoid fantasies; it's the perfect movie for its place in time. [14 Aug 1987, p.D1]
    • Miami Herald
    • 51 Metascore
    • 75 Critic Score
    A rare movie, one that manages to be both quiet and electrifying, touching and unnerving. But it is not a great movie, even though its stars deserve for it to be.
    • Miami Herald
  48. This is a movie that manages to be light and funny and still transcend age, background and culture to treat with compassion our ability to behave in our own worst interests and still nurture hope for the future.
  49. It's a testament to the power of the story -- and this engaging adaptation -- that leaving Hogwarts is tough anyway.
  50. While Cacoyannis' film may not be totally faithful to the master's pen, for literature students and theater lovers, this Cherry Orchard is a rare treat.
  51. It may not get top billing, but glorious music is the star of Songcatcher, an intriguing and often lovely film.
  52. Filled with conspiracies, intrigue and the suggestion that modern-day society is purposely designed to drive us a little nuts, The Manchurian Candidate is a paranoid fantasy for our time.
  53. The performances are all terrific - Stillman gets his actors to latch onto his absurdist vibe, then gives them wonderfully rich dialogue to play with.
  54. Point Blank is as disposable as a feature-length episode of TV's 24: The movie is all adrenaline and excitement, and it doesn't really stay with you. Just try to tear your eyes away while you're watching it, though.
  55. Above all, this story is about the peril that lurks under life's surfaces.
  56. Oliver Stone tried encapsulating Alexander's life into one movie, only to discover the task was impossible. Bodrov knows better, using Mongol -- the first of an intended trilogy -- to center on Genghis Khan's formative years.
  57. Skillfully straddles an intriguing line between reality and fiction.
  58. Definitely funny. Goofy, ridiculous, with more gross-out humor than is strictly necessary but still funny.
  59. A straightforward, earnest, sentimental picture: It's all the things you'd think a Sept. 11 movie directed by Oliver Stone would never be.
  60. The only thing missing from this winsome, madcap throwback set in London on the eve of World War II is an actual Brit in the title role.
  61. In some ways, better than its book.
  62. The movie is more interested in making viewers consider its disenfranchised protagonists from a fresh perspective. The fact that the film accomplishes this without a trace of gooey sentimentality is a small miracle.
  63. Hacksaw Ridge may be too syrupy for cynical tastes and too brutal for the timid.
  64. Bitter, brittle, condescending and petty, the titular character of Margot at the Wedding, fabulously played by Nicole Kidman, is a successful short story writer who resents other people's happiness.
  65. Despite its downbeat theme, A Single Man is ultimately optimistic about the human capability to gradually make peace with seemingly insurmountable pain and tragedy.
  66. We may not understand her, this strange, solitary woman, but we know in our bones her desire for a place in the world.
  67. Milks Carter's story for maximum "inspirational" value, and at times the movie skirts dangerously close to afterschool-special territory.
  68. Despite the efforts of the cast (Byrne and Murphy are particularly good), you rarely feel a thing for any of them, but I don't think you're really supposed to, anyway. The characters in Sunshine tackle thorny ethical questions and debate the sanctity of life on their way to the sun, but the movie is really about the voyage, not the voyagers. Enjoy the sights.
  69. An uncommonly polished and sophisticated superhero movie.
  70. Surprisingly enjoyable.
    • Miami Herald
  71. There are some who may lament Aniston’s choice to step out of her comfortable comedy shoes and little black dresses, but the decision was sound: The best reason to see Cake — the sort of film that makes your life look pretty good in comparison — is to watch her deliver her best dramatic performance to date.
  72. As for getting close to Wintour -- or even explaining the unfathomable mystery that can be haute couture -- the film comes up empty.
  73. An enchanting romantic comedy between two lost souls in the most unexpected of places.
  74. The documentary Mad Hot Ballroom is packed from start to finish with adorable kids doing cute things: Rarely has a movie, fictional or not, had this much awwwww factor.
  75. The combination of youthful irreverence and military indoctrination is jarring.
  76. The Savages is ultimately about two siblings, both around 40, in the midst of learning it's never too late to start embracing life, no matter how rotten a hand you were dealt in the past.
  77. Quibbles aside, Babe: Pig in the City recaptures the verbal wit and plentiful heart that made the first film so special. [25 Nov 1998, p.2E]
    • Miami Herald
  78. But there are so many beautiful, tender moments in In America -- that it's easy to forgive Sheridan's manipulative ploys.
  79. Grandly entertaining documentary.
  80. The Proposition leaves you shell-shocked.
  81. Some of the developments feel a bit predictable — shot in the dull hues of gray that match Maud’s life, Suffragette occasionally turns hard truths into platitudes — but the story is inspiring, buoyed by a fine cast, a pointed, important examination of the price paid for a shot at equality.
  82. In Logan, the clawed mutant Wolverine finally gets to slash through the constraints of a kid-friendly PG-13 rating, and the result is bloody, vicious fun. The squeamish will avert their eyes, and young children should not be allowed anywhere near this movie, no matter how many X-Men action figures they own.
  83. All we can do is hope that films such as Hotel Rwanda remind us all -- moviegoer and politician -- of the terrible cost of doing nothing.
  84. Efron makes you believe he’s capable of anything. Neighbors is rude, brazen and merrily offensive, and the movie mines the homoerotic undertones of fraternities to fine (if lowbrow) comic effect. But Efron, of all people, gives the film a curious edge.
    • 53 Metascore
    • 75 Critic Score
    Now a vastly larger audience has the chance to experience the masterwork of a prodigiously talented man who died far too young.
  85. Never crosses over into meanness, and even the most satirical character has a moment of empathy.
  86. Through Tautou's performance, Coco Before Chanel reveals the formation of an artist.
  87. Survives its surface annoyances because Lynch's script also has ambition, heart and something to say other than love conquers all.
  88. Romantic comedies don't have to be profound when they are as appealing as this one.
  89. Essentially, You Don't Mess With the Zohan isn't all that different in tone and sensibility from Sandler's previous films, but he's really trying in this one, and the effort pays off.
  90. Midnight in Paris initially seems like a departure for Allen, but the prevailing theme blends right in with the rest of his canon.
  91. Penguins are intrinsically amusing. In general, Jim Carrey is amusing, too, provided you can overlook that whole "How the Grinch Stole Christmas" debacle. In Mr. Popper's Penguins, he and they add up to surprisingly fun family entertainment.
  92. The story is worth telling, one that begs the question: Has anything changed?
  93. Amped to the max, with firepower and fisticuffs flying, this is Bond as we have come to know him in the post-Roger Moore years: bigger, badder, better.
  94. This bruising, harrowing movie would be impossible to sit through without at least a hint of light at the end of its astonishingly dark tunnel.
    • 43 Metascore
    • 75 Critic Score
    The protagonists of Light It Up seem strangely tender and vulnerable, and the movie, if heavy-handed at times, does a remarkable job of making their plight moving.

Top Trailers