Miami Herald's Scores

  • Movies
  • TV
For 3,015 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 Before Sunset
Lowest review score: 0 Halloween III: Season of the Witch
Score distribution:
3,015 movie reviews
  1. If only Beau Travail had a more dramatic edge, this nicely done film wouldn't have felt so long.
    • Miami Herald
  2. All is Lost is more fun to think about than it is to actually watch: It’s a testament to a great actor, an experimental piece of cinema and a bit of a bore.
  3. The Master has become a contest between two gifted actors trying to shout each other down. The commitment to their roles is impressive, but it's tethered to a weightless, airless movie, a film so enamored of itself, the audience gets shut out.
  4. 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
  5. It's too civilized by half and never quite funny enough. [31 Jan 1986, p.D1]
    • Miami Herald
  6. An artsy bore.
  7. Although it deals with some monumental themes, Mademoiselle Chambon also feels wispy and inconsequential.
  8. Late Marriage's stiffness is unlikely to demonstrate the emotional clout to sweep U.S. viewers off their feet.
  9. As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.
  10. A well-acted, well-crafted but excruciatingly tepid romantic film about a subject that will attract poetry lovers and yet test even their considerable patience.
  11. The movie is practically incomprehensible.
  12. Despite the great care and research that went into the movie, Frost/Nixon pales in comparison to Oliver Stone's "Nixon" when it comes to humanizing the infamous leader.
  13. Results in a weightless film. Worse still, McElwee's languid tone makes his journey lack conviction.
  14. Watching an army of apes riding horses heading into battle is undeniably cool, but that’s the only thing the movie gives you: Neat eye candy. Dawn of the Planet of the Apes is written at a level so low, even 8- year-olds will find it lacking.
  15. Chan's string of chop-socky films were never boring. Shanghai Noon is.
  16. 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."
  17. The main problem with Submarine is that Oliver is not a likable protagonist.
  18. For most U.S. audiences, Sophie Scholl: The Final Days, an Academy Award nominee for best foreign language film, is going to feel more like a history lesson than a movie.
  19. Feels like the shell of a wonderful story.
    • Miami Herald
  20. 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.
  21. The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
  22. Time Regained is not really worth the time it takes to see it.
  23. The actors are talented enough to carry the movie, but they fade into the background once things grow dire, and the special effects take over. There's no sense of wonder or awe.
  24. As it spins along at a reasonably good clip - no one is going to mistake it for the slicker, more action-packed "Salt" - The Double unravels its secrets, which prove to be its undoing.
  25. F/X
    F/X doesn't have the surprises when it needs them. [8 Feb 1986, p.C7]
    • Miami Herald
  26. Tadpole was shot on digital video, and the images often look smeary and blurry, to the point of distraction. Then again, in a better movie, you might not have noticed.
  27. Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.
  28. 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
  29. The film lacks the menace and danger of Sendak's book, along with the beautiful simplicity and delicated, understated portrait of a lonely, misunderstood boy.
  30. Director Hector Babenco's sentimental, unconvincing adaptation of Varella's book, is a soft, simplistic look at a tough, complicated subject.
  31. 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.
  32. Despite its entertaining and insightful dialogue, can also be a bore.
  33. A relentless descent into a psychedelic hell, a rambunctious feel-bad epic.
    • Miami Herald
  34. 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
  35. 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.
  36. With touches of humor throughout, the gentle and peaceful film never becomes depressing or sad.
  37. One of the problems with Rampart is that we've seen guys like Dave in movies and on TV for years now. The bad cop psyche has been delved into pretty deeply on all fronts, most notably in FX's brilliant series "The Shield."
  38. The truth is, Jet Li has gotten soft in his old age. While fans of the "Once Upon a Time in China" star will be pleased to learn that at least half of Fearless is action, what they may not realize is just how mushy everything else is.
  39. Unstoppable is the slowest, talkiest movie you'll ever see about a runaway freight train loaded with toxic chemicals.
  40. Almost certain to polarize audiences, this bit of emotional agitprop plays like a watered-down "Short Cuts" or "Magnolia" with a shrill, one-note message: We're all a little bit racist.
  41. An impeccably shot, studiously staged, passionately acted bore, one of those curious fizzles in which everyone seems to do everything right, but the film simply refuses to take off.
  42. Palo Alto is a pale imitation of the early novels of Bret Easton Ellis, who wrote about young ennui and misdirection from the inside out.
  43. 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.
  44. It feels like three movies stitched together.
  45. For all its splendor, The New World is really a love affair between Malick and his camera.
  46. There are 10 minutes of animation in the film, and it could have used a few more: They have a spirited, inventive energy that the rest of this well-intentioned but awfully melodramatic movie lacks.
  47. The movie fails utterly at coming up with a story that merits all the eye candy.
  48. 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
  49. Remains naggingly hollow, a cerebral exercise in whimsy that isn't nearly clever or funny enough to seem like more than grand self-indulgence.
  50. What The Bank Job ends up stealing is all your precious time.
  51. McGrath makes literal what the other movie only hinted at -- that Perry falls in love with Capote -- turning the relationship between author and subject into something far less complicated and more mundane.
  52. The Hunger Games takes no risks.
  53. Depp isn’t doing anything different here than he did in "Dark Shadows" or "Alice in Wonderland" or the "Pirates of the Caribbean" movies. Once again, he’s unrecognizable under elaborate makeup and prosthetics, and he speaks with a peculiar voice (this time a thick South Boston accent).
  54. Despite Fanda's shenanigans, and many are out-loud funny, Autumn Spring is not that uplifting though it isn't a downer, either. It's more an ode to friendship and marriage.
  55. The Illusionist is dogged by an inert, stale aura that overcomes everything and everyone in the movie.
  56. Whereas E.B. White's beloved novel introduced kids to the cycle of life, tenderly broaching the tricky subject of mortality, this latest movie version plays like just another piece of vegetarian agitprop.
  57. It's all very sweet, but the film goes in too many directions.
  58. Next time Damon will have to find a worthier vehicle. As the intended start of a franchise, The Bourne Identity is a bit of a bust.
  59. Unfortunately Miracle is long on cliché and short on originality.
  60. 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.
  61. The coming-of-age tale The Way, Way Back is sweet, heartfelt and utterly trite and predictable from beginning to end.
  62. 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?
  63. While the scope of the movie is bigger, its impact is smaller. "Blue Valentine" was a precise, heartrending portrait of a marriage coming apart at the seams. The theme of his new movie is a lot harder to discern.
  64. A momentary diversion.
  65. Van Sant's refusal to delve into his subject in anything but an abstract way renders the movie pointless and frustrating -- a lyrical, lovely tone poem, signifying little.
  66. Jarmusch has never seemed quite this baffling -- or quite this dull.
    • Miami Herald
  67. Steven Soderbergh has been telling interviewers that he's planning to take a sabbatical from filmmaking because he has lost his inspiration. His lack of interest is palpable in Haywire, a rote exercise in action filmmaking that is sleek and polished and instantly evaporates from memory.
  68. Watching A Late Quartet feels more like sitting through a Classical Music 101 lecture than entertainment.
  69. 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.
  70. Here is a film in which nothing is at stake: Cars crash into each other head-on at high speeds, vehicles sail off cliffs and tumble down rocky mountainsides, people jump out of buildings and fall six stories to the ground, then characters just dust themselves off and continue as if nothing had happened. Even Wile E. Coyote wasn't this resilient.
  71. The best stuff comes early in Ruby Sparks, which was written by Kazan (granddaughter of Elia) and directed by the husband and wife team of Jonathan Dayton and Valerie Faris (Little Miss Sunshine).
  72. 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.
  73. It's a clammy, depressing movie, but not a very illuminating one.
  74. Truth should have felt like a tragedy, a story about a monumental but fascinating failure of journalism, the flip side to the upcoming Spotlight, about the Boston Globe’s Pulitzer Prize-winning investigation of sexual abuse within the Catholic church. Instead, Truth wants to make your blood boil. It succeeds — but not in the way the filmmakers intended.
  75. For a good hour, Seven Psychopaths is lively, bloody fun. Then the yawning starts.
  76. A slightly dull film by photographer Sam Jones.
  77. 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.
  78. It is almost completely devoid of any trace of humor. It radiates a luxurious, all-encompassing mopeyness.
  79. Jackson has become too distracted by his digital toys to give his characters the same weight and importance he used in the Rings trilogy.
  80. By the time the film's climactic 15 minutes rolled around, viewers at a preview were laughing as if they were watching "Knocked Up." For a horror picture, such a reaction is the equivalent of a stake through the heart.
  81. Rarely delivers anything above and beyond the scope of the series.
  82. Its stop-and-start feel keeps you from ever getting fully absorbed in the story.
  83. The performances in Bandslam are uniformly strong -- good enough to make you wish this bunch of charismatic, talented kids had been given better material.
  84. The movie is oddly impersonal - you remember the concept more than the story - and feels like something that was made simply for the opportunity to pair Streep and Jones for the first time.
  85. If Soderbergh set out to make a galvanizing conversation piece, he has certainly succeeded. But this cold, occasionally dull movie practically defies you to embrace it.
  86. 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.
  87. 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.
  88. One of the most pessimistic movies about love Hollywood has ever made, a star-studded, glossy anti-date movie.
  89. 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.
  90. The Great Debaters keeps things on the surface and pushes the obvious buttons, hoping you won't notice its distinct lack of depth.
  91. Feels like a cobbled collection of ideas and conceits rather than a stand-alone story.
  92. The Runaways ultimately feels too lethargic and conventional for the wild story it tells.
  93. Saving Mr. Banks is two movies crammed into one cumbersome, overlong drama.
  94. Monsters University feels half-hearted and lazy, like they weren’t even trying. At least show a little effort, guys.
  95. 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.
  96. The whole of Prometheus - which was written by Jon Spaihts and Damon Lindelof, and rips off everything from "2001: A Space Odyssey" to "Event Horizon" - feels derivative and passé: The film is a shiny, high-tech relic.
  97. There's just not much going on here once the plot finds its stride. It's goofy, and it's mean, but Darkman isn't nearly enough of either. [24 Aug. 1990, p.5]
    • Miami Herald
  98. After an exciting high-speed car chase reminiscent of the Mad Max pictures, The Rover settles into a two-character drama between Eric and Rey, but Pearce is so one-note that their relationship is never engaging.
  99. For all its Buck Rogers-style derring-do, gorgeous vistas of an Art Deco New York and sepia-toned cinematography, Sky Captain is a static, uninvolving experience.
  100. Mother and Child is good when it takes a harsh, unsparing look at lament and the burdens we carry throughout our lives. Then it goes for your tear ducts, and we're suddenly stranded in Lifetime TV territory.

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