Miami Herald's Scores

For 538 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 7.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 L.A. Law: Season 1
Lowest review score: 0 New Girl: Season 1
Score distribution:
  1. Mixed: 0 out of 280
  2. Negative: 0 out of 280
280 tv reviews
  1. The show's pea-brain sociology is eclipsed only by its Dadaesque conception of courtroom drama.
  2. Rigidly formulaic drama is almost always a bad idea, and in this case it's, well, criminal. Neither Maura Tierney as the prosecutor nor Rob Morrow as the defense attorney get enough screen time to develop their characters past the cardboard stage.
  3. New Zealand, however, cannot be blamed for The Gates, approximately the 1,712th American television show about vampires.
  4. 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
  5. Syfy's show relies a lot more on dripping fangs and never speaks in a whisper when a bellow will do--even the simplest conversations are conducted with the neurotic intensity of a bad soap opera. Simply put, this Being Human lacks any human warmth.
  6. As drama, Memphis Beat is a dreary failure, a formulaic cop show distinguished only by its poor execution.
  7. The problem with Matlock is that Griffith isn't nearly as cute as either he, or NBC, think he is. Or maybe it's that he's playing it too cute. When Peter Falk played cat and mouse with his prey in that eccentric, unassuming manner, it was charming. When Griffith does it, he just seems phony, manipulative and obnoxious. He's more creepy than he is endearing. [23 Sept 1986, p.C6]
    • Miami Herald
  8. The new version, with Jonathan Sadowski as Shatner's estranged son seeking to establish a relationship, feels less like a Twitter feed and more like an actual television show--but not a good television show.
  9. Dismal and disoriented, under-plotted and over-allegorized, the six-hour Prisoner miniseries that debuts on AMC Sunday night is an exercise in full-tilt dramatic tedium that will appall anybody who remembers the original and bewilder anyone who doesn't: What was the big deal about that?
  10. Tepid stuff.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. None of them is very interesting, and it's actually kind of hard to tell them apart.
  16. Watching Cult is like trying to read a Kafka novel in Sanskrit. When you’re blind. And drunk.
  17. Sadly truncated.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. Conceptually, this isn’t half-bad. The writing, unfortunately, is all-bad.
  25. There's an unfortunate whiff of Marie Antoinette about Grammer's breezily ungrounded Hank.
  26. Watching this dismal intragenerational cluster of families is sort of like seeing a Roots for the cannibal gangs in The Road.
  27. 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.
  28. By the end, Sleepy Hollow seems less like a show than a garage sale of used story pitches.
  29. Just about everybody is having sex with everybody else: Kings is one giant raging id of a show.

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