Miami Herald's Scores

  • Movies
  • TV
For 3,612 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Up
Lowest review score: 0 Whatever It Takes
Score distribution:
3612 movie reviews
  1. I Killed My Mother fares less well when Dolan gives in to some ill-conceived stylistic flourishes (understandable for a young, first-time filmmaker) or when his reach as a dramatist exceeds his grasp (an incident involving thugs who gay-bash Hubert, for example, feels superfluous). But the crux of the film is the furious, tempestuous bond between Hubert and Chantale, and through their volcanic fights, you can see Dolan's considerable talent at its least adorned. [23 Apr 2010, p.G7]
    • Miami Herald
  2. The film's one great asset, a real surprise, is Robert Downey Jr. in the title role. He grabs something of the Little Tramp's innate grace and anarchic wit, and he runs with it -- pratfalls with it and waddles off into the sunset with it. [08 Jan 1993, p.G5]
    • Miami Herald
  3. The movie is at its most chilling, oddly enough, when one or another chase isn't going on. The real fun begins when Ryan becomes desperate and goes for help to his old pals in intelligence. This is prime Clancy material -- high-tech surveillance, computerized image enhancement, Intelligence with a capital "I." [5 June 1992, p.G5]
    • Miami Herald
  4. Hot Shots isn't quite that bad, but given the material -- the military mind is certainly, in military parlance, a target-rich environment -- it ought to be funnier. [31 July 1991, p.D1]
    • Miami Herald
    • 54 Metascore
    • 50 Critic Score
    Of course, Eddie Murphy is a funny man -- not the kind that throws around a succession of one-liners, but one who proceeds by hovering on themes. And, of course, he scores some points and gets some good laughs here -- and his quota of jeers, too. [24 Dec 1987, p.D7]
    • Miami Herald
  5. It's a big, likable movie without quite enough jokes, but the stars take turns with the burden, carrying the thing in relays. They're fun to watch. [16 Dec 1986, p.D4]
    • Miami Herald
  6. For a while, director Joe Dante spins some daft gags off the situation, and Hanks and Fisher deliver their droller lines with a deadpan sincerity that produces genuine unease. But it turns out that there isn't really much of a script here, and soon The 'Burbs has devolved into a slow build to the big anti-climax. [17 Feb 1989, p.10]
    • Miami Herald
  7. For the most part Blame It on Rio is witless, predictable and bland, despite Donen's fascination with the topless-beach scene (his camera combs the shore for breasts with the unsubtle fervor of a pig rooting for truffles). [18 Feb 1984, p.D7]
    • Miami Herald
  8. Penny Marshall proves deft at blending the silly stuff with enough action to generate a bit of suspense; the mix is that of Beverly Hills Cop. And the script, though the work of a whole crowd -- almost always a bad sign -- has marvelous moments. [10 Oct 1986, p.D1]
    • Miami Herald
  9. The writing is good and the direction rarely flabby, but the real strength of Buckaroo is in a large and enthusiastic cast, led by Peter Weller, who plays the title character with a perfect deadpan. [11 Aug 1984, p.B7]
    • Miami Herald
  10. Soapdish is a spoof of soap operas, and the problem should be apparent from the start: It is very, very difficult to parody that which dwells already in the land of self-parody. [31 May 1991, p.G5]
    • Miami Herald
  11. The movie is at its best when it flirts with becoming a meta-sequel — a film whose characters know they’ve been in a movie called “Trainspotting.”
  12. Kong: Skull Island is fast, playful and ridiculous, a big-budget extravaganza with the soul of a spirited B-movie.
  13. 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.
  14. The Salesman doesn’t have the same precision and emotional wallop of his previous films: The plot hinges on a couple of convenient contrivances, and the first half meanders a bit.
  15. The filmmakers’ fondness and respect for all things Batman are what elevate The Lego Batman Movie past the trappings of a funny cartoon. Who could have guessed, in the era of non-stop comic-book pictures, that a movie that uses toys as protagonist would do the most justice to the enigmatic Bruce Wayne?
  16. The movie is quiet and serene, but it stirs and inspires and amuses. In the small details of an ordinary life, Jarmusch finds wells of beauty and empathy. The movie is an exploration of the deep pleasures of creativity.
  17. Silence feels like a career summation for a filmmaker who has spent his life exploring his faith through his work. Here is a movie about the importance of religion that will move you, regardless of whichever God you worship — or don’t.
  18. Here is a celebration of the artistic drive that is also a daring feat of showmanship, as technically accomplished in its own way as “Mad Max Fury Road” or “The Revenant."
  19. The good news about Rogue One: A Star Wars Story, the first in a planned series of stand-alone movies set in the “Star Wars” universe, is that the last half-hour of the film is a sustained stretch of rousing action, indelible images and cliffhanger thrills. It’s pop sci-fi bliss...The bad news about Rogue One is that getting to the good stuff is a slog — and the movie is pretty long.
  20. But this is also his funniest, nimblest picture: There are long stretches in it that could pass for a comedy.
  21. You don’t buy into their romance the way you buy into, say, Emma Stone and Ryan Gosling in the upcoming “La La Land.” All you see are two big movie stars playing make-believe.
  22. In his debut, Alwyn comes off as a likable, sympathetic screen presence capable of handling more difficult material. He’ll have plenty more opportunities. Billy Lynn’s Long Halftime Walk, though, will be forgotten in a month’s time.
  23. She's such a fascinating, faceted character that halfway through "Christine" you almost forget about what's coming.
  24. The actors all suffer beautifully, but their pain doesn’t register: It’s all affectations and red-rimmed eyes.
  25. 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.
  26. Hacksaw Ridge may be too syrupy for cynical tastes and too brutal for the timid.
  27. This may not be Park’s best or gravest picture. But it might be his most entertaining.
  28. Sometimes, the simplest, smallest things require the greatest courage. Moonlight is Miami’s first bonafide movie masterpiece.
  29. For all its respectable airs, The Accountant mostly induces shrugs. Sometimes, B-movies fare better when they settle for being their lowbrow selves.

Top Trailers