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 7.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Golden Girls: 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. Tepid stuff.
  2. 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.
  3. Mostly I winced: at the irritatingly arch dialogue; at the hoochielicious every-other-scene dance routines; at Michalka's acting range, which seems to have just two settings--smug and self-righteous.
  4. What Fox programmers failed to notice was that their new show was peopled entirely with unpleasant characters working from a 100-percent laugh-free script. Watching Running Wilde, you can actually feel your eyes and ears disconnecting as they go off in search of some way to amuse themselves.
  5. Mostly lost in the Technicolor goo of the fabulously exotic mutilations and lacerations is Miami Medical's purported dramatic theme, the psychological toll taken on doctors whose professional diet consists solely of grotesquely lethal cases.
  6. None of them is very interesting, and it's actually kind of hard to tell them apart.
  7. Watching Cult is like trying to read a Kafka novel in Sanskrit. When you’re blind. And drunk.
  8. Sadly truncated.
  9. 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.
    • 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.
  10. Nonlinear storytelling, with so many flashbacks and flash-forwards and dream sequences that pretty soon you can't even remember the last time you saw a naked chick bobbing around the cabin. My advice: Rent Barbarella instead.
  11. 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.
  12. 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.
  13. On Tuesday night, we're going to see if you can get it from television, with three shows that--intentionally or otherwise--document seriously disturbed minds, with results ranging from riveting to revolting. Tending toward the latter is Mental.
  14. 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.
  15. Conceptually, this isn’t half-bad. The writing, unfortunately, is all-bad.
  16. There's an unfortunate whiff of Marie Antoinette about Grammer's breezily ungrounded Hank.
  17. Watching this dismal intragenerational cluster of families is sort of like seeing a Roots for the cannibal gangs in The Road.
  18. It's supposedly a wry look at the perils and pressures of parenthood. But really it's just a collection of tired cliches, reworked with weird grimaces and funny accents a la a really bad Saturday Night Live skit.
  19. By the end, Sleepy Hollow seems less like a show than a garage sale of used story pitches.
  20. Just about everybody is having sex with everybody else: Kings is one giant raging id of a show.
    • 52 Metascore
    • 30 Critic Score
    The producers of The Big Easy could take a lesson from Homicide, a show that capitalizes on its regional setting by letting Baltimore's charm come through unself-consciously -- not dressed up, as New Orleans is here, in a bad Mardi Gras costume. [10 Aug 1996, p.3G]
    • Miami Herald
  21. Do Not Disturb is apparently trying for an upstairs/downstairs feel, but it comes across more as above-the-waist/below-the-waist.
  22. For sheer cheesiness and sociopathology, Investigation Discovery’s bizarre documentary 50 Ways To Leave Your Lover cannot be topped.
  23. Its essential shallowness is on display from the very start, when 11 contestants for a junior editor's job at the fashion magazine Elle are issued their first challenge: Bring the boss breakfast.
  24. Louie is so low-key that it has no discernible pulse. To say it's unfunny is accurate (profoundly so) but also beside the point: It's un-anything.
  25. 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.
  26. The aggressive fakery of School Pride makes it unfortunately difficult to believe when the show throws some unexpected punches.
  27. Even if you buy the premise that 2012 Nashville is a redneck hellhole barely familiar with indoor plumbing (big laugh in episode one: Reba meets her first gay person!), the show's performances and punchlines mostly fall flat.
  28. What made a quirky, fun six-hour miniseries in May has turned to monotonous stupidity in the conversion to weekly series. [28 Nov 2002]
    • Miami Herald

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