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 Arrested Development: Season 1
Lowest review score: 0 Last Man Standing (2011): Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. 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.
  2. The aggressive fakery of School Pride makes it unfortunately difficult to believe when the show throws some unexpected punches.
  3. The show's pea-brain sociology is eclipsed only by its Dadaesque conception of courtroom drama.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. With tepid performances and a lifeless script, Bag of Bones feels like more of a chore than a television viewing experience.
  9. Where Modern Family is sweet and funny, The New Normal is cheap and hectoring.
  10. None of them is very interesting, and it's actually kind of hard to tell them apart.
  11. 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.
  12. 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.
  13. 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.
  14. Watching Cult is like trying to read a Kafka novel in Sanskrit. When you’re blind. And drunk.
  15. Sheen and Cryer breathe some life into this thing, but a mercy killing might have been simpler. [22 Sept 2003, p.4E]
    • Miami Herald
  16. Conceptually, this isn’t half-bad. The writing, unfortunately, is all-bad.
  17. 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
  18. This is essentially CSI without the microscopes, petri dishes or Marg Helgenberger. Yawn. [26 Sep 2002]
    • Miami Herald
  19. By the end, Sleepy Hollow seems less like a show than a garage sale of used story pitches.
  20. Tepid stuff.
  21. 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
  22. The CW’s newest wallow in adolescent angst.
  23. 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
    • 53 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
  24. 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
  25. Despite a decent cast that includes Jon Cryer and Paget Brewster, all the demented characters are too much to take. The trouble with The Trouble With Normal is that it needs some normalcy. [6 Oct 2000, p.1E]
    • Miami Herald
    • 51 Metascore
    • 25 Critic Score
    Slightly dumb, big-hearted guy just wants to be left alone with his wife and big-screen TV. Flat writing and formula acting do little to advance such a hackneyed plot. [21 Sept 1998, p.1C]
    • Miami Herald
  26. Extremely irritating. [26 Sep 1992]
    • Miami Herald
  27. 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
  28. Humdrum.

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