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 7.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Larry Sanders Show: Season 1
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. The truth is that Rob is a rather funny sitcom about the cultural collisions that occur every day in an increasingly blended America.
  2. Some of the bits are awfully predictable, like tough-guy Sands mellowing into a big-brother type for a young street punk who (amazing coincidence alert) has a hottie older sister. Others are more interesting, particularly a debate between Goldberg and Marte over whether warring on drugs makes any sense.
  3. Far from a complete accounting of how the United States government tracked down and killed its Public Enemy No. 1--even the SEAL raid that ended with his death is hardly mentioned, much less described--this film might be better titled The Spooks Strike Back.
  4. Weeds may make you chuckle, but it wants you to gasp, and unless your name is June and you call your youngest son Beaver, it's not likely to happen. [7 Aug 2005]
    • Miami Herald
  5. Each of them [actresses Rebecca Ferguson, Faye Marsay and Amanda Hale] stabs backs and pops bodice buttons with the necessary élan while keeping a straight face at The White Queen’s putative moral, which is that arranged marriages are corrupt and evil, while those born of attempted rape, self-mutilation and suicide are sacred and empowering.
  6. It's an ancient TV dilemma: Bring an edgy comedian aboard, then make him tone down what he does best in order to avoid offending anybody. The problem is only compounded for ethnic performers who know they'll get little time to develop an audience...Lopez's amiability, however, gives it a chance to work. [27 Mar 2002, p.E6]
    • Miami Herald
  7. Like the people whose story it tells -- those bright, over- educated, social-climbing, New York killer careerists and consumerists (I'm avoiding the dreaded Y-word here) -- Baby Boom is affected, but stylish. Like its subjects, it can be annoying with its display of superficial trappings like a designer kitchen. But once the veneer is stripped away, the show -- and its main character, J.C. Wiatt (the reliably engaging Jackson) -- can be rather pleasant. [10 Sept 1998, p.B1]
    • Miami Herald
  8. It's warm and funny, has a pleasant dose of the fantastic, and even manages to throw in a few life lessons along the way, in a manner not nearly as ham- fisted or homily-heavy as shows like Highway to Heaven and Wizard. [19 Sept 1986, p.B1]
    • Miami Herald
  9. When [Uecker] and Hewett trade barbs, they elevate the material far beyond the way it would read on the printed page. Down the line, however, for this show to sustain, the writing and the plotting will have to show a bit more originality and flash than it does tonight. [15 Mar 1985]
    • Miami Herald
  10. The China Beach premiere has its ups and downs. The downs are mostly in its too pat and predictable dramatic choices. It takes the easy road too often in its resolutions. Its bag of storytelling tricks is trite, undermining a greater potential that might have been tapped with less telegraphed, less easy calls. But there is much to admire as well. The acting and characterizations are uniformly splendid. [26 Apr 1988]
    • Miami Herald
  11. A strong cast... breathes life into what might otherwise be just one more tepid medical drama.
  12. Nobody is quite what they seem in this show, and watching the layers of deception and falsity peel away is its main attraction. Of course, at some point, there better turn out to be something underneath.
  13. What would otherwise be a tedious collection of working-mom and lawyer-show clichés is saved by an excellent cast.
  14. Freddie is a series of collisions -- between generations, sexes, ethnicities and perhaps most of all between youthful Latin macho and imperious Latin matriarchy in the struggle to rule the house.
  15. It also helps that Heather Graham as Emily is so appealing that it often distracts from the fanciful idiocy of what she's saying or doing.
  16. A dumb but powerful serialized mystery that has an equal shot at being the season's biggest cult hit and its most mind-boggling flop.
  17. Calling it ''good'' might be a bit of a stretch, but Ugly Betty's comic-melodrama formula is so cannily executed that audiences may find it irresistible.
  18. If you can ignore stuff like the impossibly clean subways and the fact that the cops call one another ''constable'' with straight faces, Flashpoint is actually rather formulaic.
  19. The Principal's Office, a supposed documentary series from TruTV (the reality-show ghost of the cable channel once known as Court TV), is pure canine despite delivering neither the bark nor the bite you might expect from a show that follows high school principals dealing with disciplinary problems.
  20. Jason O'Mara is enormously appealing as the determined but befuddled Tyler....Unfortunately, the same cannot be said for Life on Mars' writers, who seem to have been knocked considerably deeper into history than their character.
  21. Equal parts sly and stupid, rousing and ridiculous.
  22. As drama, unfortunately, it's often punchless, with a meandering narrative which, it's obvious from the first moments, cannot be contained within a single two-hour show.
  23. Watching Better Off Ted is a bit like reading old Dilbert comic strips--amusing, but the punch lines seem awfully familiar.
  24. No, it's not Twilight--but it's not bad, either. The Vampire Diaries, The CW's new fang-gang drama, successfully hitches the sanguinary sexuality of the vampire ethos to the in-group/out-group dynamic of the teen soap.
  25. The reshot pilot episode that will be broadcast Tuesday is no longer irritating, but neither is it distinctive, just one more humdrum cop drama, notable only for wasting a high-powered cast that includes Michael Imperioli (The Sopranos) and Aisha Hinds (True Blood).
  26. There's nothing really wrong with the show, at least nothing you can easily put your finger on. It just lacks that elusive but absolutely necessary spark of life that turns a stack of script pages and publicity stills into something that will stop you from clicking the remote.
  27. Ultimately, Person Of Interest is built on too cockamamie of a premise to be taken seriously.
  28. Anger Management is kind of a mirror image of Sheen: scabrously, outrageously funny at times and monotonously one-note at others.
  29. In short, The Neighbors closely resembles the old Conehead sketches from the early days of Saturday Night Live.
  30. As funny as 1600 Penn can be, after a while the laughs grow fewer and further between. And the misfires are more frequent and painful.
  31. Legit--and I say this with a certain amount of admiration, coupled with trepidation that some new program on the spring schedule will soon prove me wrong--is the most degraded, debauched and degenerate show on TV.
  32. Do No Harm isn't so bad. It isn't so good, either.
  33. Wildly uneven. [22 Sept 1994]
    • Miami Herald
  34. Vikings is at least fun to watch, in a sword-swinging, head-chopping, maiden-despoiling sort of way.
  35. Missing here is the complexity that makes shows like "L.A. Law" or "Hill Street Blues" fun to watch. Executive producer Dick Wolf has said Law & Order is not an ensemble show. What it is is a show about police and legal procedures -- and they're recounted in almost documentary fashion. Of course, as with so much TV law, time is collapsed and these complicated procedures are neatly wrapped up by the show's conclusion. [9 Sept 1990, p.H1]
    • Miami Herald
  36. Flying Blind tries to transplant the wackiness of old screwball comedies into series TV. The leads have chemistry, but Alicia's way-out, avant-garde world can be a drag. [12 Sep 1992]
    • Miami Herald
  37. There are some scary moments in the first episode, which is appropriately dark and foreboding. But you can't escape the feeling this is just another X-Files clone. [6 Oct 2000, p.1E]
    • Miami Herald
  38. By focusing on the science used by crime-scene investigators, C.S.I. puts a creative spin on the traditional cop-show genre. [6 Oct 2000, p.1E]
    • Miami Herald
  39. It's a premise that has been tried many times, but snagging big-screen heartthrob Byrne gives it some cachet. [6 Oct 2000, p.1E]
    • Miami Herald
    • 53 Metascore
    • 50 Critic Score
    If you're a fan of the attractive Nikki Cox (Unhappily Ever After and Norm), then there's a lot to like about this sitcom. [7 Oct 2000, p.5E]
    • Miami Herald
    • 67 Metascore
    • 50 Critic Score
    A good cast that includes Ellen Burstyn (Alice Doesn't Live Here Anymore) and Paul Sorvino (Law & Order) works hard to overcome a script filled with cliches. [7 Oct 2000, p.5E]
    • Miami Herald
  40. Creator Kelley delights in making fun of his characters, and he can't sustain the bizarre tone. [18 Sept 1992, p.5]
    • Miami Herald
  41. The characters are drawn overly broad, situations are grindingly forced, and efforts at social commentary and smart parody are Cliff Notes of real life. [29 Sept 1999, p.1E]
    • Miami Herald
  42. In an effort to avoid a controversy similar to what befell Ellen last season, this show has taken a safe route that kills some of its comedy potential. [21 Sep 1998]
    • Miami Herald
    • 63 Metascore
    • 50 Critic Score
    Whatever Carey's trademark humor may be, it's lost in the translation to this forgettable show. [13 Sep 1995]
    • Miami Herald
    • 61 Metascore
    • 50 Critic Score
    Pilot plays like network TV's answer to the Tailhook scandal, pretending to wear a feminist attitude while managing to make its women characters ridiculous, obnoxious or scantily clad. [23 Sep 1995]
    • Miami Herald
  43. The marvelous Daniels rises above the cuteness, but he deserves a worthier foe than the loud, whiny Savage. A St. Elsewhere rerun, anyone? [23 Sept 1993, p.7]
    • Miami Herald
  44. If Wings wants a long run, it would do well to lay off the plane crash jokes and the sexist bits. It has the cast and concept to go places. [19 Apr 1990, p.F1]
    • Miami Herald
  45. Almost Human is a tolerably silly sci-fi action show set in a Blade Runner-ish future where human cops are paired with robots to battle the high-tech gangs that have the run of the seedy streets.
  46. The TV show seems fairly faithful to the formula: trite, sappy and predictable, if somewhat sweet and nicely filmed. [29 Oct 1988, p.C1]
    • Miami Herald
  47. You can pretty much watch this show any night of the week under its other titles, CSI and Law & Order.
  48. It's an interesting approach, but despite well-drawn characters and the strong cast, there's a sense that the show is trapped in amber, a perfectly preserved relic from another age.
  49. Carpoolers, are at least amusing even if equally socially maladroit. Carpoolers is a genially oddball comedy.
  50. Worst Week certainly has some genuine laughs, but they run out well before the pratfalls and pee-pee jokes do.
  51. The smirky cynicism, savage mockery of New Age verities and prickly atheism of its lead character could have made The Mentalist fascinating (if not altogether pleasant) viewing. Instead, it turns down the same formulaic path as CBS' other police procedurals, a sort of CSI-with-a-fake-crystal-ball.
  52. A little old-fashioned police brutality may seem downright appealing compared to the pseudointellectual runamok of CBS' cop drama Eleventh Hour, in which British actor Rufus Sewell plays a scientist who has regrettably turned his genius to fighting crime
  53. Drugs. Pratfalls. Bodily excretions. Sexual crudity. Shock-jock ethnic humor. Four-letter words flying like lead in a matineee Western. Character development and story? Not so much.
  54. Fans of Grey's Anatomy femme fatale Addison Montgomery may find her a little dull now that she doesn't have a husband or boyfriend or intern to cheat on or with in ABC's spin-off Private Practice.
  55. This is sporadically funny, but Tim is too slight -- the back-to-back episodes are only 10 to 12 minutes long -- and relies way too much on the supposed shock value of cartoon characters uttering four-letter words to be consistently entertaining.
  56. What might have otherwise been a worthy effort seems pallid and wheezing compared to the acid-etched Nurse Jackie.
  57. The CW, having exhausted every bit of its creative energy on The Pussycat Dolls Present: The Search for the Next Doll, is now simply remaking Fox's old prime-time soap lineup one by one. And the garden apartment complex at No. 4616, though filled with a new collection of 20-something drama queens, is the same vortex of hyperkinetic hormones, ambition and criminality that it always was.
  58. Community's party animals tend to get their kicks less from bongs, grain-alcohol projectile vomiting and peeping into sorority windows than from irregular Spanish verbs and lengthy recitations of the script of The Breakfast Club, which, for the most part, is even less amusing than it sounds.
  59. It's a drab third-generation clone (a spinoff of the original NCIS, which in turn was a spinoff of JAG) of a show from the shallow end of the TV gene pool.
  60. Charmless and predictable, Scoundrels seems like a tepid rehash of The Riches, a lively and thoughtful FX show about a family of gypsy thieves trying to go straight that was done in by the 2008 television strike.
  61. Even Ramsay's most barbarous fans are likely to find this formula so thin by now that, by comparison, Louise Roe looks like a blimp.
  62. Mike & Molly unquestionably has a lot of funny moments. But realizing you've just been laughing at 22 consecutive minutes of socially unredeemed fat jokes may leave you feeling as if you've just eaten a 36-inch anchovy-and-pineapple pizza: bloated and yucky.
  63. It's ABC's attempt to replicate last season's wildly successful intergenerational comedy Modern Family, and, like many genetic experiments, it ends in mutant disaster.
  64. America's Next Great Restaurant is quickly undone by the same mean-spiritedness that makes Survivor, American Idol and the rest of this genre such an unpleasant viewing experience. Winning depends at least as much (and probably much more) on impressing the producers with television skills as it does on winning over the judges with culinary expertise or business savvy. So taunting and backbiting among the contestants is a dreary constant.
  65. More often, though, the laughs range from tepid to nonexistent.
  66. At least Azaria and Hahn do have an uncertain chemistry that might have developed into something watchable had the producers not decided to provide it with a Greek chorus of locker-room cracks by loutish co-workers.
  67. OK, OK, A Gifted Man, is not as bad as all that [Friendly-ghost mothers-in-law? Friendly-ghost proctologists? Friendly-ghost telephone solicitors?]. But it's not good, either.
  68. Everything seems hacky and incomplete.
  69. If you were reduced to hysterical laughter by the concept of herbal breast-enlargement cream in the film, you will likely be so again by the superpower-conveying acne medicine in the TV show. If not, well, welcome to Normal Town.
  70. Like its ancestor, the new Dallas is self-consciously a trashfest, an endless cycle of betrayals, confrontations, reconciliations and re-betrayals.
  71. Made in Jersey is only sporadically engaging.
  72. Beauty and the Beast is a little hacky at times, with the characters leaping dozens of plot points in a single bound. But Kreuk and Ryan keep their faces straight and their bodies hard, which is what CW shows are mostly about, and all in all, it could be a lot dumber than it is.
  73. It does have a lot of characters and a hopelessly confusing plot.... But the show is not without its strengths, particularly the scenes in which the magazine editor (Anthony Edwards, ER) argues with young staffers disappointed by his refusal to run a story about werewolves running amok in Romania.
  74. The most interesting thing about Killing Lincoln, in fact, is how it can be so tepidly uninteresting.
  75. No surprises here, unless Shannen Doherty oozes out of one of the petri dishes. [23 Sept 2003, p.4E]
    • Miami Herald
  76. It was all quite boring...What the series does have going for it is a nostalgic sense of humor and Bakula, whom some may recall from Eisenhower and Lutz, a midseason show that lasted about 10 minutes last spring. Bakula has this hound-dog kind of handsomeness and a certain goofy charm...What it has going against it, is its sheer nutty illogic. Even science fiction is supposed to have some ground rules. God? Holograms? Amnesia? Come on! This thing is just nonsense.
    • Miami Herald
  77. In its first episode, Barbershop drops the ball, mistaking mere profanity for edginess and digging for laughs in dull, typical sitcom fashion. [14 Aug 2005, p.5]
    • Miami Herald
  78. Based on the vivid 1988 movie, the sitcom is a disappointment. [30 Mar 1990, p.E1]
    • Miami Herald
  79. It's standard fare, not worth staying home for. [26 Jan 1989]
    • Miami Herald
    • 39 Metascore
    • 30 Critic Score
    The unarguable truth of E-Ring's central premise -- that America's national-security bureaucracy probably spends as much time in intramural squabbles as it does fighting terrorism or rogue states -- does not make it any better drama.
  80. The Unit hits more false notes than an American Idol tryout.
  81. Psych is a one-trick pony that quickly deteriorates into a rather humdrum mystery once the novelty of watching Spencer fake his psychic revelations wears off.
  82. [It] often sounds less like a television drama than a Criminal Procedures 101 lecture delivered at an offshore law school.
  83. The jibes quickly wear thin and predictable, and there's simply not much to Help Me Help You.
  84. Watching seven characters sit around week after week in endless discussions of the ramifications of the fact that two of them have kissed may have been fun in the seventh grade. But, like the spinning teacups at Disney World or throwing up after drinking a jug of Ripple, it's an experience that doesn't wear well with time.
  85. Where The Class is warm and charming, Emergency is crude and overdrawn.
  86. This can be dryly funny in small doses, but Conchords really feels less like a sitcom than a Saturday Night Live sketch stretched out to about six times its shelf-life.
  87. The show's boorishness is exceeded only by its dissimulation; not one frame of this thing--from the diners who seem not to notice that their table is surrounded by camera crews to the melodramatically villainous managers--is remotely believable.
  88. The hacky writing is interchangeable with any of CBS' police procedurals, and the boy-band good looks of Alex O'Loughlin as the detective, Mick St. John, inspire neither fear nor dark sexual longings
  89. A hacky remake of a mediocre 1971 film of a pulp-science 1969 novel, this miniseries (it concludes Tuesday, if you must waste two nights of your life) is a poster child for generational decline: Whatever few IQ points were present in the original have long since leached away.
  90. JoAnna Garcia's overcaffeinated cuteness--the sort of thing that made otherwise decent people want to run Sally Field through with a pitchfork back in her Gidget and Flying Nun days--as a Palm Beach governess to trust-fund teen trash is nigh unbearable.
  91. Do Not Disturb is apparently trying for an upstairs/downstairs feel, but it comes across more as above-the-waist/below-the-waist.
  92. It's hard to enjoy characters in such dire need of a hard slapping.
  93. If you think "SpongeBob Squarepants" would be funnier if it added a couple of hookers and a cross-dressing junkie, this is the show for you. Everybody else should take a pass.
  94. CBS' new comedy-drama The Ex List is a descent to the most profound levels of Chick Flick Hell, where the damned and those with Y chromosomes cry out in agony through all eternity.
  95. Kath & Kim originated in Australia, which shares the British affection for slobby class humor, but here it falls about as flat as food-court champagne.

Top Trailers