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 8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Everybody Hates Chris: Season 1
Lowest review score: 0 The Winner: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
    • 48 Metascore
    • 60 Critic Score
    It's really one lonnnnng sex joke. That said, some of the punch lines are pretty funny.
  1. Longford is never less than gripping. But it unconsciously apes the moral myopia that afflicts its protagonist.
  2. 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.
  3. 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
  4. 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.
  5. Fox's beguiling but unconventional drama Lone Star will have a similar problem [programmers with quick trigger fingers] if viewers demand a quick payoff.
  6. 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.
  7. 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.
  8. Lovably silly.
  9. Rather than suspense, Happy Town appears to be going for the goofball irony of its ABC ancestor Twin Peaks.
  10. Blond toughie Kelli Giddish (Past Life) is fun to watch as the lead marshal, provided you don't have an excessively ACLUish temperament.
  11. 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....
  12. Vikings is at least fun to watch, in a sword-swinging, head-chopping, maiden-despoiling sort of way.
  13. 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
  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. 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
  16. Creator Kelley delights in making fun of his characters, and he can't sustain the bizarre tone. [18 Sept 1992, p.5]
    • Miami Herald
  17. In short, The Neighbors closely resembles the old Conehead sketches from the early days of Saturday Night Live.
  18. 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
    • 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
  19. Yet even in its best moments, Hot Coffee is done in by its essential dishonesty. Saladoff, who learned filmmaking while preparing mini-documentaries for use in trials, is a gifted director with a sure touch for pacing and an extraordinary talent for rendering complex legal doctrine into easily comprehended language. But like any good lawyer--and unlike any good documentarian--she's intent on concealing the weakness in her case.
  20. 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
  21. 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
  22. 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
  23. 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.
  24. 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.
  25. 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
    • 62 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
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.
  31. Anger Management is kind of a mirror image of Sheen: scabrously, outrageously funny at times and monotonously one-note at others.
  32. A strong cast... breathes life into what might otherwise be just one more tepid medical drama.
  33. 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.
  34. 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.
  35. 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
  36. 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.
  37. 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.
  38. Ultimately, Person Of Interest is built on too cockamamie of a premise to be taken seriously.
  39. Do No Harm isn't so bad. It isn't so good, either.
  40. Watching Better Off Ted is a bit like reading old Dilbert comic strips--amusing, but the punch lines seem awfully familiar.
  41. 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).
    • 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
  42. 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.
  43. Equal parts sly and stupid, rousing and ridiculous.
  44. Wildly uneven. [22 Sept 1994]
    • Miami Herald
  45. What would otherwise be a tedious collection of working-mom and lawyer-show clich├ęs is saved by an excellent cast.
  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. 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
  48. 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.
  49. 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
  50. Worst Week certainly has some genuine laughs, but they run out well before the pratfalls and pee-pee jokes do.
  51. 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.
  52. Like its ancestor, the new Dallas is self-consciously a trashfest, an endless cycle of betrayals, confrontations, reconciliations and re-betrayals.
  53. What might have otherwise been a worthy effort seems pallid and wheezing compared to the acid-etched Nurse Jackie.
  54. 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.
  55. 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.
  56. You can pretty much watch this show any night of the week under its other titles, CSI and Law & Order.
  57. 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.
  58. More often, though, the laughs range from tepid to nonexistent.
  59. 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
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  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. 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
  66. 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.
  67. No surprises here, unless Shannen Doherty oozes out of one of the petri dishes. [23 Sept 2003, p.4E]
    • Miami Herald
  68. Made in Jersey is only sporadically engaging.
  69. 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.
  70. Everything seems hacky and incomplete.
  71. 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.
  72. Based on the vivid 1988 movie, the sitcom is a disappointment. [30 Mar 1990, p.E1]
    • Miami Herald
  73. The most interesting thing about Killing Lincoln, in fact, is how it can be so tepidly uninteresting.
  74. 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.
  75. 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.
  76. 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.
  77. 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.
  78. Carpoolers, are at least amusing even if equally socially maladroit. Carpoolers is a genially oddball comedy.
  79. 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.
  80. 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.
  81. It's standard fare, not worth staying home for. [26 Jan 1989]
    • Miami Herald
  82. Virtually everything in Accidentally on Purpose is some kind of cheap sexual crack or double entendre. The essential sweetness Elfman showed in Dharma & Greg and the later, unfortunately little-watched Courting Alex curdles into mean self-parody as she scorns her new boy-toy as an intellectual and economic inferior even as she grovels before his bedroom skills.
  83. Where The Class is warm and charming, Emergency is crude and overdrawn.
  84. Schlatter is smug and superficial, nothing more. He has no chemistry with his love interest, the pretty but vacant Sloan (Ami Dolenz). The other actors are reduced to slogging through caricatures. It's going to get pretty boring, week after week. [23 Aug 1990, p.1]
    • Miami Herald
  85. The jibes quickly wear thin and predictable, and there's simply not much to Help Me Help You.
  86. The Unit hits more false notes than an American Idol tryout.
  87. The show reduces some of its actors, notably Cole, to stereotypical shtick. There are too many characters and too many emotional shifts, but not enough depth. Viewers who visit the neighborhood of Brewster Place won't get close to its people. [1 May 1990]
    • Miami Herald
  88. Sheen and Cryer breathe some life into this thing, but a mercy killing might have been simpler. [22 Sept 2003, p.4E]
    • Miami Herald
  89. Carrie's antics in New York are a kind of chick version of Matthew Broderick's madcap adventures in Ferris Bueller's Day Off. But Schwartz can't cut the umbilical cord--perhaps fallopian tube is a more apt metaphor--to his original source material, and that's where The Carrie Diaries goes off the rails.
  90. By the end of a couple of episodes, most viewers will be wishing Spielberg and his henchmen had spent more time on scripts and less on special effects, even if it meant splicing old outtakes of Barney and Friends into the action sequences.
  91. It's hard to enjoy characters in such dire need of a hard slapping.
  92. Turgid and plodding, Rubicon has the pace of an industrial-training film and the lucidity of a Czech art movie with the subtitles turned off. It would have to triple its pulse to rise to the level of lethargy.
  93. 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.
  94. [It] often sounds less like a television drama than a Criminal Procedures 101 lecture delivered at an offshore law school.
  95. With tepid performances and a lifeless script, Bag of Bones feels like more of a chore than a television viewing experience.

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