Miami Herald's Scores

For 520 reviews, this publication has graded:
  • 53% higher than the average critic
  • 1% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 7.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 Knight Rider: Season 1
Score distribution:
  1. Mixed: 0 out of 272
  2. Negative: 0 out of 272
272 tv reviews
  1. Everybody in Brothers is funny, but the unquestioned star of the show is Pounder, a rapturous mix of menace and guile in the struggle to keep her men in line.
  2. Welcome to ABC's V, the final, the most fascinating and bound to be the most controversial new show of the fall television season.
  3. Those patient viewers who do stay will be richly rewarded with a humanist story that gains traction as it goes--a vivid and intimate character piece meant to be savored like a spicy gumbo.
  4. With enough chemistry between its stars to power a DuPont lab and a wise use of off-the-beaten-path South Florida shooting locations -- it goes for a fetid swamp over South Beach every time -- The Glades is thoroughly enjoyable.
    • 67 Metascore
    • 80 Critic Score
    Pillars does a surprisingly good job of maintaining story coherence. It also avoids what might be called the Fairytale-Princess Fallacy of costume dramas; the muck and brutality of the Middle Ages are on full display.
  5. Cathy's modest conception of throwing caution to the winds mirrors the strengths of The Big C, which is affecting precisely because of its refusal to assume epic proportions.
  6. Terriers, FX's comedy-drama about a pair of bargain-basement private eyes, is a piquantly funny sojourn among lovable losers.
  7. Putting aside for a moment questions about whether it signifies the imminent collapse of Western civilization and even the human reproductive impulse, this version of Nikita can still provide a rollicking, if slightly psychotic, good time.
  8. Neatly staged, with one surprise after another in a geometric progression of suspense, The Event's pilot episode leaves a lot of tantalizingly unanswered questions.
  9. With dazzling action scenes and a pair of stars who ooze charm and sensuality, Undercovers easily overcomes its predictability.
  10. Americans in their 20s have few good-time memories in their young-adult lives. If they can be coaxed away from their computers to the television screen, they may find themselves bonding with the characters of the well-acted and intelligently written My Generation.
  11. A potent brew of family melodrama, crime-thriller tension and conspiratorial intrigue, Blue Bloods may actually bring some viewers back onto the sinking ship of Friday-night television.
  12. No Ordinary Family is no comic-book kiddie show but a perceptive and engaging comedy-drama about domestic dysfunction.
  13. If many of these plot and character elements are straight off the bargain shelf at the Boxing Melodrama R Us superstore, Lights nonetheless gives them new life--partly thanks to a superlative cast and partly because the show resists the biggest cliche of all: the boxer as innocent victim of poverty and circumstance.
  14. Chronicling the opposite relationships requires Mad Love to bounce from light romantic comedy to murderously hostile wisecracks and back again, which it accomplishes with considerable deftness. The show's quick wit is matched with a talented cast, particularly Labine.
  15. Watching her construct a self from a handful of jagged fragments is a seductive pleasure.
  16. Sharply contrasting with the florid Borgias is AMC's emotionally spare and atmospherically dank series The Killing.
  17. Murder and sexual predation sure look fun when they're done by pretty people in luscious gowns. Jeremy Irons is splendidly depraved as Rodrigo, and Holliday Grainger (Robin Hood) so sunnily sweet as Lucrezia that it's damn near impossible to hold a little arsenic against her.
  18. Starz, however, has re-imagined the doings of Arthur, Guinevere and the gang as a bloody, bodice-ripping medieval soap opera, and the result is surprisingly satisfying.
  19. HBO's drama Cinema Verite is a searing and irresistible look at the making of An American Family and an incisive dissection of the mendacity of what we so absurdly call reality TV.
    • 64 Metascore
    • 80 Critic Score
    South Riding has everything you could want from a Masterpiece event: perfect period details, a forlornly gray surf, a swelling soundtrack, disputes over crunchy-gravel real estate, whistling trains and black-tie dinners in hotels, a believable and compelling story involving multiple characters and plots and a faithfulness to its original material that allows for a textured, even sorrowful, bleakness.
  20. There's nothing at all subtle about the gloriously absurdist Wilfred.
  21. Suits is far more than a whimsical caper show. Beneath its cuttingly funny dialogue lurk complex emotional edges.
  22. Sins of fathers and mothers not only visit each of the characters, but infest them; the show shimmers with an inner core of volcanic anger that makes it far more interesting than your average family soap.
  23. Torchwood: Miracle Day is smashing entertainment.
  24. Damages returns to spiteful, vindictive and wildly entertaining life Wednesday night after resuscitation by satellite-television provider DirecTV.
  25. The CW's tale of an evil twin and an even eviler twin, is devious doppelganger drama at its best.
  26. Unforgettable is a quirky, captivating take on the police procedurals that have been a staple of the CBS schedule over the past decade.
  27. It's a stylish, elegantly plotted tale of a young woman's sociopathic thirst for vengeance.
  28. Bello's performance as the weather-beaten Timoney, swabbing her emotional scars with alcohol, nicotine and invective, is easily the highlight of the fall television season.
  29. Derivative Pan Am may be, but that doesn't make it any less watchable.
  30. The show shrewdly offers more than a monster of the week, with some absorbing subplots that continue from week to week.
  31. Half a century and half a dozen wars later, it may seem that there's nothing left to say about Vietnam. But Vietnam in HD proves that there is, and says it dazzlingly, horrifyingly well.
  32. For now, Alcatraz is a sinister bag of sinister pleasures.
  33. Smash doesn't dabble in sociology: It's pure greasepaint melodrama. Sneer all you want, but if you sneak in a secret smile now and then, that's OK, too.
  34. The sordid ugliness that festers inside Magic City's voluptuously beautiful wrappings makes irresistible television.
  35. It is a powerful and often heartbreaking piece of filmmaking that ponders just how thin our veneer of civilization really can be.
  36. Hit & Miss, once you get past the successive bombshells of its opening minutes, is a painful yet endearing drama about trying to build a family in a landscape blighted by loneliness and rejection.
  37. Political Animals can be slightly murky when it comes to invoking issues and ideologies. But when it comes to the microlevel of politics, the misdirection and machinations politicians employ to satisfy their own ambitions and thwart those of others, Political Animals is peerless.
  38. O'Dowd and Garai are fascinating as they make their characters grow in opposite directions--he more steely, she more compassionate--over the course of the show.
  39. Guys With Kids is a perfect confection of witty dialogue and slapstick action.
  40. Revolution is big, bold and brassy adventure, a cowboys-and-Indians story for end times.
  41. The new CBS cop drama Vegas--a cross between Gunsmoke, The Untouchables and a Sheriff Joe Arpaio reality show--is wildly entertaining.
  42. It's more like M*A*S*H* for the four-legged, a subversive and perversely funny workplace comedy.
  43. Last Resort's premise alone promises a pretty good action thriller. But co-creator (with Karl Gajusek) and writer Shawn Ryan has produced something much bigger and better than an exercise in bang-bang.
  44. Miller and Liu, simultaneously irritating and charming each other, make Elementary far more watchable than anybody could have expected.
  45. Crisply written and acted, grafting some Enron-era scandal onto a morality tale that goes back to Faust, 666 Park Avenue gives good goosebump.
  46. A show with the twin themes that life is high school and the past cannot be escaped sounds inordinately depressing, but the writing and performances on Emily rise far above the apparent limitations.
  47. The uncommon acuity of Boyd's script is immeasurably bolstered by an outstanding female cast.
  48. The show is not without the occasional car chase, but its real strength is in its evocation of the schizoid paranoia of the double life of intelligence.
  49. [Glory Hounds] is too grim to be poetry. Though, like all true war stories, it is something of a love story; and like all true love stories, it will break your heart.
  50. It's only measured against that formidable benchmark that the spinoff falls short of those expectations. It's a solid drama, but it's no Law & Order - yet...On its own, it's a good show. But it's got the genes to be great. [20 Sept 1999, p.1E]
  51. Watching him color in the lines of his own personality is fascinating. [19 Sept 2002]
  52. With a charming and funny cast, there's lots to like about What I Like About You. [19 Sept 2002]
  53. Much edgier in confronting issues of class and ethnicity. But it never loses its sense of humor. [19 Sept 2002]
  54. Happily, Golden Boy not only manages a fairly original take on cop shows but actually turns out to be surprisingly intriguing.
  55. It’s entertaining and engrossing.
  56. Cutler’s documentary The World According to Dick Cheney is a rousing piece of work.
  57. Durst’s books all offer the same engaging elements that the BBC makes such excellent use of in this two-part miniseries: The claustrophobic lifeboat atmosphere of a society teetering toward its doom.
  58. An ugly little glimpse into our hometown community...A cinema-verite, hand-held camera walk on the wild side with the Broward County Sheriff's Office.. A televised tour into (Broward's) heart of darkness...It had real energy. It was tense, taut, a video knuckle sandwich. You were with those cops as they chased fleeing perps, wrestled with muscled smugglers. And you couldn't help but be impressed with the heroism and dedication of the men and women on the streets -- Sheriff Nick 'I Never Met A Camera Angle I Didn't Like' Navarro's grandstanding antics notwithstanding. [Jan 1989]
  59. The answers unfold with a delicious tension that makes Graceland an unexpected pleasure.
  60. In The Flesh at first seems to be offering itself as a fractured metaphor, with zombies standing in for blacks, gays, Muslims or the social victim of your choice. But the show quickly veers into something sweeter, sadder and more thoughtful--a meditation on forgiveness, redemption and second chances.
    • 74 Metascore
    • 80 Critic Score
    It's hilarious...The series doesn't break new ground artistically, but it's got a main character who's already a classic. He seems as fully formed as Frasier or Seinfeld's Kramer. He could become television's new king of self-delusion. [10 Aug 1996, p.1G]
  61. A kinky streak of humor keeps Desperate Housewives from sliding into morose desolation. [3 Oct 2004]
  62. Based on the pilot episode--with its taut script, strong performances and special effects that are impressive without being overwhelming--there’s hope that Under The Dome might measure up to its unsettling print progenitor.
  63. It is at once insanely juvenile and very sophisticated, appealing to a funny bone that, as an adult, I try to hide. I feel guilty about laughing, but I laugh anyway. [13 Aug 1997]
  64. Schreiber’s powerful portrayal of a man whose elemental rage is on a collision course with a rising moral consciousness is the driving engine of Ray Donovan. But it may not even be the show’s best performance.
  65. Hilarious. [4 Aug 2005]
  66. A very watchable hour of TV. [23 Sep 2002]
  67. In any season, I'll Fly Away would stand out for its sensitive writing and acting. [7 Oct 1991]
  68. The result is a blend that’s sometimes funny, occasionally poignant and fitfully horrifying. There are flashes of a Nixon rarely glimpsed or perhaps even suspected.
  69. Not since HBO’s The Wire left the air five years ago has a television series combined urban decay and moral decrepitude in such stark--and yet compulsively watchable--terms.
  70. But I think the biggest reason is that I like its star, the British actor Woodward, who is an older man, 55, a veteran actor of 40 years, and not just another pretty young face on a vacuous head. He gives this show the same touch of class that another British export, Patrick Macnee, used to give The Avengers. [18 Sept 1985, p.3]
  71. Akerman has wit and style, and so does the show.
  72. No matter who’s on screen or what they’re doing, Back in the Game is gut-bustingly hilarious.
  73. The Michael J. Fox Show (which debuts with back-to-back episodes) is never cloying or condescending. And any time it seems to be veering toward disease-of-the-week-movie territory, you can be sure that lampoon is on the way.
  74. The subtext of loss and longing, which sometimes isn’t all that sub, makes The Crazy Ones a tightrope act. But Kelley gets tremendous support from his cast. The madcap Williams has never been better, and Gellar’s performance is a magnificently winning mixture of quiet desperation, mounting rage and wistful yearning.
  75. A dark gem of a show.
  76. [An] amusing, endearing, female-buddy sitcom.
  77. What makes Welcome to the Family interesting, and rather sweet, is that it confounds expectations.
  78. Sean Saves the World is like a comedy cruise to self-discovery, with both Sean and his daughter learning of strengths and weaknesses they didn’t know they had, the process punctuated with keenly funny dialogue and precision timing.
  79. Watching this conspiracy, class warfare and romantic indiscretion collide makes for a hugely engaging show, all the more so because of the lushly photographed Victorian settings and droll dialogue.
  80. Suburban rage may not be pretty, but in Nip/Tuck, it's always funny. [22 July 2003, p.3E]
  81. As science fiction, Roswell is passable entertainment, sort of a less-dark X-Files. It rises above that, however, through the relationship of Liz and Max. Appleby and Behr make their characters crackle with magnetic attraction. [6 Oct 1999, p.1E]
  82. The multiplicity of story lines and characters turns Las Vegas into a complex undertaking, but Caan, Duhamel and their excellent castmates make it work, brilliantly. [22 Sept 2003, p.4E]
  83. Nor is The L Word all sexual sturm und drang. Its light moments are laugh-out-loud funny. [18 Jan 2004, p.3M]
    • 71 Metascore
    • 75 Critic Score
    Fox's return to prime-time TV finds him hitting his mark...What's more, the actor is surrounded by a likable cast. [17 Sept 1996, p.1C]
    • 61 Metascore
    • 75 Critic Score
    If you've followed the TV careers of Charmed's stars -- Shannen Doherty (Beverly Hills 90210), Holly Marie Combs (Picket Fences) and Alyssa Milano (Who's the Boss) -- then just the idea of all three being in the same show makes it worth a look. The premise is at times campy, but it works. [7 Oct 1998, p.3D]
  84. In the premiere episode, there are times when it is difficult to believe Ally is a top-notch lawyer, given her tentative, almost little-girl nature. Then there are scenes like her frank and catty discussion with Billy's wife... that are great fun to watch. [8 Sep 1997]
  85. Elfman's wacky persona injects new life into the tired sitcom premise of opposites attract. [24 Sept 1997, p.4D]
  86. Dave's World is shrewdly observant. It's a success by more than a few nose hairs. [20 Sept 1993, p.6]
  87. Refreshing, low-key and true to its small-town Texas setting, the series goes against the grain of most so-called current "family entertainment." This isn't another inane sitcom with dopey adults and unbearably cute kiddies. Everyone here seems natural, real. [1 Oct 1993]
  88. Lowlife though it may be, Twins is just plain funny.
  89. The cynical and cerebral Threshold is the darkest of the three new space-alien shows, so much so that the producers seem to be wondering if the human race is even worth saving.
  90. Elfman establishes herself as one of the major female comic presences on television.
  91. This sitcom is a loving embrace of convulsive domestic eccentricity.
  92. As a reality show, Miracle Workers is unique: It is neither Machiavellian like Survivor, nor messianic, like Three Wishes, nor grotesque, like Fear Factor. It's as serious as life and death.
  93. Highly entertaining.
  94. Just think of all the stolen ideas as a public works program for Hollywood lawyers and stick to the action on-screen, which is quite entertaining.
  95. With a gorgeous cast (even -- especially? -- the dead ones), plenty of cool slow-mo martial arts action, a glorious collection of lethal hardware and an intriguing plot, Blade's got something for the whole family, provided they rank somewhere between the Munsters and the Mansons in sensibility.

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