Miami Herald's Scores

For 528 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 7.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Young Indiana Jones Chronicles: Season 1
Lowest review score: 0 Just Legal: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. 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.
  2. 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.
  3. Surreal and then some.
  4. Poignantly funny.
  5. At times Smith seems less like a crime drama than a character study of a collection of seriously damaged people. But the show's metabolism is enjoyably unpredictable.
  6. Six Degrees starts off almost as an anthology series, with six stories set in six different worlds, each one quite interesting. But as their orbits draw closer, interest rapidly morphs into fascination.
  7. This is an intriguing blend of The Fugitive and The O.C.: half suspense and half intergenerational melodrama.
  8. You've seen it all before, but Berg's sharp powers of observation and a talented and very pretty young cast... keep it fresh.
  9. If you're willing to invest some time and brain cells, The Nine is an absorbing experience.
  10. Delirious, dizzy, decadent and altogether delicious.
  11. Its raffish ethnic and class humor takes no prisoners.
  12. Where The Sopranos slices and dices American culture from a thousand different angles and The Brotherhood explores the shadowy nexus between crime and politics, The Black Donnellys sticks mainly to the vices, virtues and vicissitudes of family.
  13. Funny and intriguing.
  14. It's different, it's droll, it's quirky, it's funny.
  15. With enough intrigue for a spy thriller and enough careening car chases to satisfy the most deranged Fast and Furious cultists, it's an action series that engages your brain as well as your clutch foot.
  16. A soapy delight of hard bodies and dirty doings.
  17. The relatively no-name cast (which includes Craig Bierko as a recently dumped financial planner, Rashida Jones as a divorce lawyer better at managing breakups than relationships, and Johnny Sneed as a three-time-loser party boy) is excellent, and the goofball writing hilarious.... But this is buyer-beware territory, with something to offend practically everybody whose age or IQ exceeds 16.
  18. With so many different directors and writers involved, it's always hard to judge where anthology series may be going. But the first two episodes of Fear Itself are good, goosebumpy fun, with the deft set-ups, rousing action and surprise endings of a comic book.
  19. Valentine in small doses can be goofy good fun, and there are enough hot bods--including Autumn Reeser of The O.C. as the Oracle of Delphi's handmaiden, Kristoffer Polaha (Mad Men) as Eros and Robert Baker (Leatherheads) as Hercules--to soothe even the deepest political paranoia.
  20. Fillion and Katic occasionally seem a little too self-conscious--a little smirk goes a long way--but ultimately the characters are too appealing to resist.
  21. Cupid, like most romantic comedies, can be sappy, sloppy and schemingly manipulative. But the bright writing (no surprise to anyone who watched Thomas' snappy teen-detective drama "Veronica Mars") and affecting performances by Cannavale and Paulson make being manipulated seem a guilty pleasure in this case.
  22. Shraeger is played with breezy, cynical wit by Amber Tamblyn (who may have her own secrets; she's looking rather more bosomy than she did a few years back as God's BFF in in "Joan of Arcadia"). And she gets capable backup from a cast that includes Adam Goldberg and Harold Perrineau.
  23. The Alzheimer's Project, a four-part series that began with two episodes focused on harrowing descriptions of the disease, concludes on a hopeful note with two more outlining research advances.
  24. Thomas Jane exudes a convincing odor of despair as Ray. So does Jane Adams as Tanya, one of his former one-night-stands who abandons her abysmally failed career as a poet to become his pimpette. If anything, they're too convincing; the humor in Hung tends to get blotted out by the melancholia.
  25. No fictional conceit can possibly match the darkness of the Manson family. But Durham County, a series about a cop's growing realization that his bland suburban neighborhood may house a serial killer, is genuinely creepy.
  26. The Bridge is pure melodrama, its villainous commanders and politicians practically twirling their mustaches as they plot their evil deeds. But if The Bridge won't expand your knowledge of urban-management science, it will keep you glued to the set.
  27. If the genre is no longer groundbreaking, it's still compelling in skilled hands.
  28. Royal Pains has some moments of genuine wit--a lot more of them after Costanzo shows up.
  29. The Beautiful Life, in short, is hopelessly trashy melodrama about hopelessly trashy people. But Paxton, as a tougher-than-she-looks kid with a dark past, and Hollingsworth, as a callow Iowa farmboy trying to make it in the big city, are so unexpectedly affecting that you may find yourself sucked into the show against your will.
  30. If the imitation is pale, it's also competent. And Schwartzman's wistful but inept romanticism is hard to resist.
  31. It's only when the action (and the torrential cross-cutting) slows that you start getting to know some of the capable cast....And it's only when the characters begin revealing what they saw while unconscious that FlashForward turns interesting as it examines the interconnectivity of the human experience.
  32. Actually the dimly befuddled Cleveland works pretty well as a foil to the collection of redneck psycho neighbors, oversexed stepchildren and Russian bears (don't ask) who make up the cast.
  33. Until watching The Middle, I would have said it was time the sitcom concept of the madcap mom trying to balance kiddies and career got a decent burial, complete with a stake through the heart. But Heaton and producers Eileen Heisler and DeAnn Heline give the idea new life.
  34. The testosterone-infused interplay as they taunt each other over career potholes, curdled marriages and sexual depravities and deprivations is scathing and hilarious, though an astonishing percentage of it cannot even be alluded to here.
  35. As a cop drama, Haven--marred by busy and blurry story lines--is barely competent. But as a narrative of eccentric, slightly damaged yet ultimately warm characters, it's quite successful. The deadpan my-badge-is-bigger-than-yours needling between Rose and Bryant is particularly engaging.
  36. Though it's intended to be a female buddy show in which she plays off Sasha Alexander's coolly uppercrust medical examiner Maura Isles, Harmon definitely gets the upper hand--at least in the pilot episode.
  37. This remake keeps the scenery and action--exploding cars and AK-47 gunfights appear to be to Honolulu what thieving politicians and senile I-95 motorists are to Miami--but adds some compelling post-9/11 wrinkles.
  38. Raising Hope is low in concept, lower in class and lowest of all in shame--but relatively high in laughs, so long as you keep your living room curtains closed so no one can see you watching.
  39. Whether Belushi is using the firm's private detectives to follow his estranged wife, or O'Connell is sleeping with the prosecutor who's trying to put his client in jail ("You really don't like me much, do you?" she asks while taking off her blouse), the show has an irresistible outlaw quality.
  40. Watching Crystal fire off demands to Ben while working out on a treadmill wearing high heels and a business suit is wondrously, bizarrely funny. If Mr. Sunshine can relocate moments like that from the show's periphery to its center, it may stick around for a while.
  41. The sheer power of these stories carries The Kennedys even during the occasional stumbles that result from trying to pack 40 years of history into five and a half hours of programming.
  42. The show is a rampage of frequently inappropriate and always cuttingly funny jokes about sex, drugs, money and most of all the penthouse/flophouse culture clash between the two characters.
  43. How to be a Gentleman has some sharp writing, good byplay between the stars and a fair number of laughs.
  44. Martin Scorsese's affectionate, exhaustive two-part HBO documentary George Harrison: Living in the Material World. Harrison's easily mocked mysticism has rarely seemed as sincere and hard-won as it does in Scorsese's respectful, 3 1/2-hour profile.
  45. That's a lot of stories to tell, and the sweeping Hell on Wheels does a good job of chopping them into bite-size pieces.
  46. Beneath its estimable comic trappings, Go On is something larger: a meditation on what makes life worth living.
  47. Devlin's complex relationship with the gangsters is what elevates The Mob Doctor into something a cut or two above a Grey's Anatomy rip-off.
  48. Arrow has a rather stylish neo-Goth look, and Stephen Amell (who played a dim-bulb gigolo in Hung) neatly balances his portrayal of Arrow between camp and Saturday-matinee ingenuousness.
  49. Like True Blood, Banshee can be preposterously entertaining, or perhaps entertainingly preposterous.
  50. Though dazzlingly plotted and acted, the show is not easily watched.
  51. It's a provocative mishmash of future shock and peculiar anachronisms. [19 Sept 2002, p.E1]
    • Miami Herald
  52. An intriguing crime drama.
  53. The scenes of the guys driving golf balls onto the roofs of Hollywood mansions or scamming stereo dealers are funny and even sweet in a post-adolescent Porky's sort of way. [18 July 2004, p.5M]
    • Miami Herald
  54. Re-visiting Star Trek on television holds the same nostalgic, socko appeal that the boffo-box-office movies do. I didn't miss Kirk, Spock and friends. [28 Sep 1987]
    • Miami Herald
  55. Weep no more for Dawson's Creek, Felicity or Beverly Hills, 90210. That achy yearning in your soul for a mawkish, trashy, over-the-top, slightly dumb but kinda fun teen soap is about to be filled with One Tree Hill. [23 Sept 2003, p.4E]
    • Miami Herald
  56. Even if you aren’t convinced by TWA Flight 800, though, it’s worth watching.
    • 81 Metascore
    • 70 Critic Score
    The show's sense of humor might be described as highbrow deadpan. What's uncanny is how the animation captures each performer's physical and verbal tics. [6 Apr 1996]
    • Miami Herald
  57. There’s also plenty of good writing and acting in the drama Lucky 7, though to exactly what purpose is difficult to say.
  58. The humor is driven mostly by a relentless slapstick vulgarity, particularly concerning the flatulence and sex habits of parents. If you’ve got a high tolerance for those sorts of jokes, it is funny indeed.
  59. Alice’s battles with various computer-animated and live-action threats are entertaining and, usually, rather witty, though her traveling companions, the White Rabbit (voiced by John Lithgow) and the Knave of Hearts (Michael Socha, the proletarian werewolf in the later season’s of the BBC version of Being Human), get most of the best lines.
  60. Soapy and silly this all may be, but immersion in the intrigue of Reign has its pleasures, not all of them from laughing at its absurdities.
  61. Mob City would be better if it were just a little bit more raw--there’s something amiss when a putative sleazy jazz dive looks like you could eat off the floors. But its proudly pulpy sensibilities and its startling plot twists make it a whiskey-and-a-shot pleasure.
  62. This Bonnie & Clyde, taken on its own terms, is a perfectly entertaining gangster picture, not to mention an interesting experiment in its simultaneous propagation and subversion of feminist doctrine.
  63. Beavis and Butt-Head are lewd and crude, and they are a phenomenon. Funny, too -- that is, if the scrawlings on the boy's bathroom stalls in your local junior high tickle your funny bone. [20 Aug 1993, p.3]
    • Miami Herald
  64. Credit is due here for crafting a show in which the relationships are at least as important as the chase scenes. [20 Sep 1985]
    • Miami Herald
  65. It sounds smarmy and cliched. But Hidden Hills is really a wry meditation on stale, overworked marriages that's both funny and insightful. [24 Sept 2002, p.E1]
    • Miami Herald
  66. It's a very enjoyable hour and it's easy to get caught up in the action and the scenery and forget what we all know from the movie and the first series. But it's a tossup whether the manhunt will bring us back week after week. This time around, Kimble's chase could be much shorter. [6 Oct 2000, p.1E]
    • Miami Herald
  67. A stylish but familiar high school story, one that's considerably easier to take than two of this TV season's other back-to-school efforts: "Parker Lewis Can't Lose" and "Ferris Bueller". And, it's less frenetic than "Hull High". The show's greatest assets are Priestley and Doherty, who are appealing even when the storylines aren't. [4 Oct 1990, p.G1]
    • Miami Herald
  68. Exhausting. With documentary precision and harrowing efficiency, E.R. drops you in the emergency room and leaves you there to squirm. [17 Sep 1994]
    • Miami Herald
  69. Ben Stiller pulls off so many inspired skits in Sunday's premiere that his series ranks as one of the fall's most promising. ... Just try to overlook the weak material. [26 Sep 1992]
    • Miami Herald
  70. Until the confrontation scene, Fresh Prince coasts along on the considerable charm of Smith, who is making his acting debut at 21. Many shows before it have relied on their stars, but that last scene gives an intriguing insight into what Fresh Prince could be. [9 Sept 1990, p.H1]
    • Miami Herald
  71. Parenthood tries to capture the headaches of being a modern parent. Good enough, but it also supplies a sweet brand of aspirin to ease every pain. And at an hour tonight, it's too long. It will probably work better at the half-hour length it will have in future episodes. [20 Aug 1990, p.C1]
    • Miami Herald
    • 48 Metascore
    • 63 Critic Score
    In this comedy, rowdy young woman gets a job in a library, and finds she likes it. [9 Sept 1996, p.1C]
    • Miami Herald
    • 50 Metascore
    • 63 Critic Score
    Williams and Heard are good fill- ins for Sarandon and Tommy Lee Jones. [17 Sept 1995]
    • Miami Herald
  72. Surface has no complex or cynical subtexts; it's straight-ahead sci fi.
  73. Cooper and Somerville... keep things moving.
  74. There was a lot more to Sex and the City than menage a trois jokes, and whether Hot Properties can move beyond smutty snickers to develop real characters and story lines remains to be seen.
  75. However badly you thought American race relations were going, Black. White. will make you feel worse.
  76. The Loop's constant jokes about hot bodies and alcoholic excess would doubtless wear thin very quickly if not for a lunatic cast of young unknowns and gifted veteran character actors.
  77. If not exactly compelling, the pilot episode is engaging and often quirkily funny.
  78. A lot of this is pretty funny, but for 24 episodes?
  79. Longford is never less than gripping. But it unconsciously apes the moral myopia that afflicts its protagonist.
  80. If none of this quite rises to the level of Jon Stewart's intellectual hopscotch or Amy Poehler's inspired lunacy, it's nonetheless agreeably funny.
  81. Lovably silly.
  82. What it isn't is very dramatic. If watching attorneys haggle like rug traders was all that interesting, Feige probably would still be doing it. Nonetheless, there are worse ways to spend an hour than watching Raising the Bar, especially since the cast members are all quite pretty.
  83. To say that Love Monkey is derivative and predictable is not quite the same as saying it's bad.
  84. If Ozzie and Harriet, the original sitcom mom and dad, might have some trouble recognizing themselves in any of this, surely Houlihan, the bullied boy-toy nurse of M*A*S*H, will raise a clenched fist of solidarity with the hardbitten Iraq war veteran Veronica Callahan of Mercy.
  85. As assembly-line products go, Three Rivers isn't half bad.
  86. Watching Logan hand small children assault rifles for inspection will no doubt amuse gun nuts and enrage anti-gun nuts. And both camps are likely to blink at one of the (surprisingly numerous) female customers who--jokingly asked if she's carrying a weapon--whips out three concealed knives.
  87. The result is compulsively watchable pulp, provided you have a high threshold for decapitations and copulations, sometimes simultaneous.
  88. Rather than suspense, Happy Town appears to be going for the goofball irony of its ABC ancestor Twin Peaks.
  89. Fox's beguiling but unconventional drama Lone Star will have a similar problem [programmers with quick trigger fingers] if viewers demand a quick payoff.
  90. Blond toughie Kelli Giddish (Past Life) is fun to watch as the lead marshal, provided you don't have an excessively ACLUish temperament.
  91. Every case is wrapped up in precisely 42 terse minutes, with no dangling threads to trouble consciences or make syndication sales tough. If you liked any of the other L&Os, you'll probably like this one. If you didn't, well....
  92. The show is kind of amusing, at least in a summer-TV sort of way.
  93. Secret Circle is competently performed and produced and liable to entertain anybody not old enough to remember Alyssa Milano and Shannen Doherty doing pretty much the same stuff in Charmed back in the 20th-century day.
  94. As a kind of CSI: Sleaze City, the show is quite watchable.
    • 48 Metascore
    • 60 Critic Score
    It's really one lonnnnng sex joke. That said, some of the punch lines are pretty funny.
  95. The hardball banter over coolness quotient is coupled with some pretty amusing generation-gap comedy.
  96. The truth is that Rob is a rather funny sitcom about the cultural collisions that occur every day in an increasingly blended America.

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