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 Everybody Hates Chris: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. Watching this dismal intragenerational cluster of families is sort of like seeing a Roots for the cannibal gangs in The Road.
  2. 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.
  3. New Zealand, however, cannot be blamed for The Gates, approximately the 1,712th American television show about vampires.
  4. As drama, Memphis Beat is a dreary failure, a formulaic cop show distinguished only by its poor execution.
  5. 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.
  6. What it does have is a sleek but shallow cast that cannot lend any weight to the lighter-than-air writing.
  7. 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.
  8. Plain Jane, The CW's counterfeit ugly-duckling show, is too triflingly stupid to reach Breakthrough's profound depth of awfulness, but give it points for its abject phoniness.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Ken Kwapis, who developed Outsourced for TV, had nothing to do with the movie. And in his hands, the film's charm has curdled into caricature. All the Indians are dysfunctional weirdos, incapable of even simple social interactions.
  14. The aggressive fakery of School Pride makes it unfortunately difficult to believe when the show throws some unexpected punches.
  15. The show's pea-brain sociology is eclipsed only by its Dadaesque conception of courtroom drama.
  16. 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.
  17. Every attempt at treating a Big Idea seems sophomoric and irritating. Even in its look, the show lacks the elemental rawness necessary to throw its intellectual conflicts into sharp relief.
  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 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.
  20. With tepid performances and a lifeless script, Bag of Bones feels like more of a chore than a television viewing experience.
  21. Where Modern Family is sweet and funny, The New Normal is cheap and hectoring.
  22. None of them is very interesting, and it's actually kind of hard to tell them apart.
  23. 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.
  24. It is relentless and ultimately meretricious in skewing history to its conceit that the United States is a murderous war machine destroying everything in its path to empire.
  25. 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.
  26. Watching Cult is like trying to read a Kafka novel in Sanskrit. When you’re blind. And drunk.
  27. Sheen and Cryer breathe some life into this thing, but a mercy killing might have been simpler. [22 Sept 2003, p.4E]
    • Miami Herald
  28. Conceptually, this isn’t half-bad. The writing, unfortunately, is all-bad.
  29. Try as Midler might - and she does try, doing a few physical comedy bits that would make Lucille Ball proud - even she can't overcome the reality that Bette is an idea that never developed beyond the star's reputation. [11 Oct 2000, p.1E]
    • Miami Herald
  30. This is essentially CSI without the microscopes, petri dishes or Marg Helgenberger. Yawn. [26 Sep 2002]
    • Miami Herald

Top Trailers