Miami Herald's Scores

  • Movies
  • TV
For 3,276 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 The Wolf of Wall Street
Lowest review score: 0 The Mangler
Score distribution:
3276 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. The best science fiction leaves you with questions and ideas to ponder. Arrival is the sort of superficially profound movie that initially seems deep and weighty but stops making sense the moment you put down the bong.
  10. As intriguing as Hardy is to watch, the picture can’t overcome its cinematic-stunt vibe.
  11. 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.
  12. The movie is practically incomprehensible.
  13. 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.
  14. Results in a weightless film. Worse still, McElwee's languid tone makes his journey lack conviction.
  15. 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.
  16. The Jungle Book has its moments — the panther Bagheera voiced by Ben Kingsley, the python Kaa voiced by Scarlett Johansson and a funny porcupine voiced by the late Garry Shandling are all memorable creations — but the overall film feels cold and mechanical, befitting a movie that was made primarily because technology made it possible.
  17. 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."
  18. Chan's string of chop-socky films were never boring. Shanghai Noon is.
  19. We get the feeling that whatever it is Scorsese and Price have to say about these marvelous characters, it is not anything very interesting.
  20. One question in particular hangs heavily over the entire film, a plot hole so distracting it becomes the only thing you can think about.
  21. The main problem with Submarine is that Oliver is not a likable protagonist.
  22. 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.
  23. Feels like the shell of a wonderful story.
    • Miami Herald
  24. 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.
  25. Set almost entirely in one location and shot in widescreen to accommodate its ensemble cast, The Invitation seems tailor-made for a talented filmmaker who wants to show off skills within the constraints of a small budget. But the script, by Phil Hay and Matt Manfredi (who somehow still find work after having written The Tuxedo, R.I.P.D., and Clash of the Titans), is flimsy and nonsensical in the manner of cheap, straight-to-video-not-even-VOD horror pictures, and Kusama’s direction is clumsy and uninspired. She also telegraphs too many of the plot’s twists.
  26. The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
  27. Time Regained is not really worth the time it takes to see it.
  28. It's a movie of surpassing flatness, all surface, all monotone. Pace? It's as if the director, Alan J. Pakula, had dialed in half speed on the first day of shooting and never checked the throttle again. [27 July 1990, p.G5]
    • Miami Herald
  29. The Coens feel out of step this time; they’ve lost their rhythm the way they did in The Hudsucker Proxy, where the style consumed the entire picture, turning what should have been humorous and snappy into a grating chore.
  30. Planes, Trains and Automobiles is the movie equivalent of a tired stand-up comic's air-travel routine. It strikes some resonant chords indeed, but it never quite leaves the ground, either. And given the stars here, that's a real bungle. [25 Nov 1987, p.D1]
    • Miami Herald

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