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. Goya's Ghosts
    Captures the essence of the period -- an intriguing, backward era in Spain -- but without the emotional impact that such a film requires.
  2. Valentin
    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.
    • 52 Metascore
    • 75 Critic Score
    Little Secrets
    It's a beguiling exploration of friendship, trust, truth, insecurity and, yes, secrets.
  4. The King Is Alive
    Intrigues mainly for its spare style and brittle, sweat-soaked performances.
    • Miami Herald
  5. Scream 4
    The film isn't as concerned with terrifying you as it is with showing you a good time, culminating with an over-the-top climax that is simultaneously utterly ridiculous and enjoyable.
  6. Water for Elephants
    "Twilight's" Robert Pattinson gets a chance to shed his sparkly vampire persona and play a romantic lead with a pulse. The change suits him.
  7. The Monuments Men
    In The Monuments Men, director George Clooney takes a wild, stranger-than-fiction true story and turns it into a dull, prestigious slog.
  8. The International
    An hour after seeing it, you may not remember what The International was about. But you'll certainly remember that shootout. That is something to behold.
  9. Betsy's Wedding
    Betsy's Wedding is as "high concept" as they come -- it's all in the title, and once you know the cast, you pretty much know where it's going and how it will go. And still, it's cute, in a forlorn, co-opted sort of way. [22 Jun 1990, p.G5]
    • Miami Herald
    • 52 Metascore
    • 50 Critic Score
    The Producers
    The chemistry is intact, but performances that were reaching-for-the-balcony big on Broadway haven't been scaled back a bit for a more intimate, up-close medium.
  11. Critters
    The idea, apparently, was to combine elements of E.T., Gremlins and run-of-the-mill slasher films, while keeping the whole thing palatable for pre-teens. Only Steven Spielberg has been able to make this combination work, and even he has had trouble with it; director Stephen Herek, who also worked on the Critters script, is the wrong Steve. [30 Apr 1986, p.C7]
    • Miami Herald
  12. Nacho Libre
    The movie is a bauble, but it's an enjoyably weird and original one, and it is anchored by Black's constantly amusing performance.
    • 52 Metascore
    • 75 Critic Score
    Shirley Valentine
    The movie has its own sweet charm, a charm as winning as Shirley herself. [15 Sept 1989, p.G5]
    • Miami Herald
  14. Romeo Must Die
    So needlessly convoluted, so crammed with subplots within subplots, it simply forgets about its gangland "Romeo & Juliet" premise.
  15. Blow
    A facile treatment of a complicated subject.
    • Miami Herald
  16. Rat Race
    The movie is so cheerfully, furiously relentless, its contagious silliness wears you down.
  17. Under the Tuscan Sun
    The whole movie is at once formulaic, clichéd and predictable, yet surprising, engaging and filled with subtle, unexpected details.
  18. Win a Date with Tad Hamilton!
    Half-hearted satire of Hollywood and small-town life, and Bosworth is not particularly memorable in it.
  19. The Frighteners
    The Frighteners never finds a satisfying groove -- comedy-horror hybrids are formidably challenging -- but moments in it reach giddy, frantic heights. [19 July 1996, p.5G]
    • Miami Herald
  20. Labor Day
    If you can get past the ludicrous fantasy — well, wait, that’s the problem. You can’t get past the ludicrous fantasy.
  21. The Hunger
    An almost-horror film called The Hunger has in common with Flashdance an apparent obsession with style over other considerations, and the result, though weird, is no more satisfying. [02 May 1983, p.C6]
    • Miami Herald
  22. Saint Laurent
    A flamboyant but hollow exercise in glitz and pizzazz.
  23. Beautiful Creatures
    There’s potential here, a decent story and a cast well-stocked with grownup cinematic luminaries. But this supernatural Gothic romance is a prisoner of its own demons, which include sketchy Southern accents, tacky and tired stereotypes and faux homespun dialogue in the wrong mouths.
    • 51 Metascore
    • 38 Critic Score
    Gymkata
    An inane martial arts movie... Thomas is a glorious gymnast and may be a competent karate fighter, but this fight choreography does both disciplines an injustice. Better to spend your $4.50 renting a tape of Thomas scoring a perfect "10" at the American Cup. [10 May 1985, p.D3]
    • Miami Herald
  25. The Getaway
    The Getaway is more of a carbon copy than a new take on the same story. This new version is a bit bloodier, considerably sexier -- there's one particularly steamy love scene here -- and just as dull and irrelevant as the original. [11 Feb 1994, p.G5]
    • Miami Herald
  26. Dangerous Beauty
    It's a pure feast of eye candy. [06 Mar 1998, p.9G]
    • Miami Herald
  27. The Age of Adaline
    The Age of Adaline is a modern romantic fairy tale set in San Francisco, marred by bad narration and an unnecessary desire to overexplain random magic.
    • 51 Metascore
    • 63 Critic Score
    Uncle Buck
    Half-way through Uncle Buck, however, the plot abandons reality and is content to settle into the realm of cheap yuks. The film suffers accordingly and becomes so much like the unnatural potato chips and pretzel food snacks that our hero is fond of noshing. Uncle Buck tastes great, yes. But it sure doesn't fill you up. [16 Aug 1989, p.D6]
    • Miami Herald
  29. The Golden Compass
    The Golden Compass comes close, and its originality cannot be denied, but it never quite crosses over into your heart. It stops at your eyes.
  30. Robin Hood: Prince of Thieves
    Reynolds, who directed the little-seen but brilliantly realized The Beast , makes the camera his plaything in Prince of Thieves. This makes the movie at times obnoxious -- he repeatedly jams the lens into the bad guys' faces -- but most of it is highly watchable. Reynolds captures the dark and dank stuff better than Tim Burton did in Batman , and the action sequences thrust and cut across the screen. [14 June 1991, p.G5]
    • Miami Herald
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