Miami Herald's Scores

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For 4,219 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 5.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Radio Days
Lowest review score: 0 Teen Wolf Too
Score distribution:
  1. Positive: 2,423 out of 4219
  2. Mixed: 1,074 out of 4219
  3. Negative: 722 out of 4219
4219 movie reviews
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  1. Billy Elliot
    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
  2. Kung Fu Panda
    It's the overriding spirit of the movie that forms its greatest appeal: Here's a movie that isn't intent on conquering the world but simply entertaining you for a breezy 90 minutes.
  3. The Secret Garden
    It's a gorgeous pastiche of flowers and Gothic architecture that, like a painting on a museum wall, never quite involves the viewer. You'll be momentarily enchanted, then forget it entirely. [14 Aug 1993, p.G5]
    • Miami Herald
  4. The History Boys
    A funny thing happened to The History Boys on the way to the screen. The players are the same, the dialogue is pretty much identical, but the vibrancy of the play -- its exhilarating immediacy -- has been muted.
  5. Hercules
    Unlike The Lion King or Beauty and the Beast, Hercules never feels like more than what it is: A zippy, energetic cartoon. But it's still better than just about any movie out there right now. This Hercules is heavenly, indeed. [27 June 1997, p.5G]
    • Miami Herald
  6. A Mighty Heart
    The overriding tone of A Mighty Heart is neither indignant nor sentimental: The film is consistently cool, almost to a fault.
    • 74 Metascore
    • 75 Critic Score
    Them!
    Views of the creatures, which had the youngsters screeching delightedly, are plenty scary -- in fact the blown-up scenes of actual ants, such as everyone in the hot country knows, are enough to make you squirm. [24 Jun 1954, p.7D]
    • Miami Herald
  8. Invictus
    The result is earnest, admirable and more than a little dull -- a pedestrian movie about a remarkable subject.
  9. Big Hero 6
    With a film this funny, exciting and visually stimulating, who cares if you know exactly what's going to happen next, and when.
  10. Mommy
    The movie is a furious, in-your-face whirlwind of emotions, but it’s never tiresome or bellicose, and its raucous, messy energy is invigorating.
  11. Eastern Boys
    Eastern Boys explores whether these lost boys are damaged beyond repair or are still capable of being saved.
  12. My Kid Could Paint That
    Documentary gold, and you will have formed an opinion on the controversy by the time you leave the theater. You may not know art, but you'll know what you like.
  13. Sin City
    Sin City is always moving on to the next thing, and despite surprisingly good work from its large cast (especially Rourke and Owen, who are both outstanding), the picture feels synthetic and artificial.
  14. Shower
    Shower is also a comedy -- but it's the movie's melancholy streak that is its strongest asset.
  15. Source Code
    The script by Ben Ripley doesn't come up with enough obstacles to throw in the hero's path, and his budding romance with the doomed Christina feels more like a studio mandate than an organic development.
  16. Joe
    Green’s movies rarely play out in conventional ways, and Joe, too, surprises in the end.
  17. Narco Cultura
    Narco Cultura isn’t a documentary about runaway crime: Its actual subject is far stranger.
  18. Breach
    By the end of Breach, we never come to fully understand Hanssen -- who could? -- but Cooper's beguiling performance and his tense cat-and-mouse games with Phillippe help bring an extra layer of entertainment to this otherwise rote thriller.
  19. Tully
    An uncommonly perceptive and finely shaded character drama.
  20. 28 Days Later...
    But this smart, genuinely creepy movie also feels <I>real</I>, which is why its horrors hit so hard. Fans of the scary stuff, run, don't walk.
  21. Japanese Story
    For all its cross-cultural hijinks, Japanese Story winds up as a tale about the fragility of human beings and the lasting strength of the bonds we form during times of crisis.
    • 73 Metascore
    • 75 Critic Score
    Matewan
    The subtle patina of make-believe created by Sayles' directorial techniques gives Matewan an old-fashioned feel that separates it from the harsh, blood-and-guts style so popular among contemporary filmmakers. [09 Oct 1987, p.D5]
    • Miami Herald
    • 73 Metascore
    • 75 Critic Score
    Roxanne
    Something is missing in Roxanne. The greatness of Rostand's play was that it touched, underneath Cyrano's panache, a place of deep yearning, a heartwarming truth about human loving. Martin and Schepisi are satisfied with the shine. [19 June 1987, p.D1]
    • Miami Herald
  24. Into the Wild
    The movie tries its hardest to celebrate the impetuousness of its hero and the exhilaration of his accomplishments. Mostly, though, it just reminds you of the severity of his mistakes.
  25. A Scanner Darkly
    More than once during A Scanner Darkly, you find yourself wishing these characters would just shut up.
  26. The Limey
    Style is the main attraction in The Limey -- it's as close to experimental filmmaking as mainstream movies get -- but the film works well when taken simply as a pure revenge drama, too.
  27. Rust and Bone
    The movie wanders off course in the final act, as if none of its three screenwriters could quite figure out how to end it.
  28. Wordplay
    Manages to turn an internal, solitary activity into fodder for an engaging, even exciting movie.
  29. I'm Not There.
    Only devout Dylan fans will be able to derive much sense out of it. Dylan novices can only sit back and surrender to the ride Haynes offers: It's a strange, surreal trip.
  30. Of Mice and Men
    There's nothing wrong with remaking a classic, of course. But the movies aren't theater, where the relative economies of scale can mean countless versions of one good play. The movies are more rare -- so much money, so few chances. Sinise and Malkovich used this chance to remind us how good the story is, and in the process showed us how good they can be. I'm not sure we needed the reminder in the first case, and the second is hardly a revelation. [16 Oct 1992, p.G5]
    • Miami Herald
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