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 Twin Peaks: Season 1
Lowest review score: 0 Uncle Buck: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. Delirious, dizzy, decadent and altogether delicious.
  2. Its raffish ethnic and class humor takes no prisoners.
  3. Where The Sopranos slices and dices American culture from a thousand different angles and The Brotherhood explores the shadowy nexus between crime and politics, The Black Donnellys sticks mainly to the vices, virtues and vicissitudes of family.
  4. Funny and intriguing.
  5. It's different, it's droll, it's quirky, it's funny.
  6. With enough intrigue for a spy thriller and enough careening car chases to satisfy the most deranged Fast and Furious cultists, it's an action series that engages your brain as well as your clutch foot.
  7. A soapy delight of hard bodies and dirty doings.
  8. The relatively no-name cast (which includes Craig Bierko as a recently dumped financial planner, Rashida Jones as a divorce lawyer better at managing breakups than relationships, and Johnny Sneed as a three-time-loser party boy) is excellent, and the goofball writing hilarious.... But this is buyer-beware territory, with something to offend practically everybody whose age or IQ exceeds 16.
  9. With so many different directors and writers involved, it's always hard to judge where anthology series may be going. But the first two episodes of Fear Itself are good, goosebumpy fun, with the deft set-ups, rousing action and surprise endings of a comic book.
  10. Valentine in small doses can be goofy good fun, and there are enough hot bods--including Autumn Reeser of The O.C. as the Oracle of Delphi's handmaiden, Kristoffer Polaha (Mad Men) as Eros and Robert Baker (Leatherheads) as Hercules--to soothe even the deepest political paranoia.
  11. Fillion and Katic occasionally seem a little too self-conscious--a little smirk goes a long way--but ultimately the characters are too appealing to resist.
  12. Cupid, like most romantic comedies, can be sappy, sloppy and schemingly manipulative. But the bright writing (no surprise to anyone who watched Thomas' snappy teen-detective drama "Veronica Mars") and affecting performances by Cannavale and Paulson make being manipulated seem a guilty pleasure in this case.
  13. Shraeger is played with breezy, cynical wit by Amber Tamblyn (who may have her own secrets; she's looking rather more bosomy than she did a few years back as God's BFF in in "Joan of Arcadia"). And she gets capable backup from a cast that includes Adam Goldberg and Harold Perrineau.
  14. The Alzheimer's Project, a four-part series that began with two episodes focused on harrowing descriptions of the disease, concludes on a hopeful note with two more outlining research advances.
  15. Thomas Jane exudes a convincing odor of despair as Ray. So does Jane Adams as Tanya, one of his former one-night-stands who abandons her abysmally failed career as a poet to become his pimpette. If anything, they're too convincing; the humor in Hung tends to get blotted out by the melancholia.
  16. No fictional conceit can possibly match the darkness of the Manson family. But Durham County, a series about a cop's growing realization that his bland suburban neighborhood may house a serial killer, is genuinely creepy.
  17. The Bridge is pure melodrama, its villainous commanders and politicians practically twirling their mustaches as they plot their evil deeds. But if The Bridge won't expand your knowledge of urban-management science, it will keep you glued to the set.
  18. If the genre is no longer groundbreaking, it's still compelling in skilled hands.
  19. Royal Pains has some moments of genuine wit--a lot more of them after Costanzo shows up.
  20. The Beautiful Life, in short, is hopelessly trashy melodrama about hopelessly trashy people. But Paxton, as a tougher-than-she-looks kid with a dark past, and Hollingsworth, as a callow Iowa farmboy trying to make it in the big city, are so unexpectedly affecting that you may find yourself sucked into the show against your will.
  21. If the imitation is pale, it's also competent. And Schwartzman's wistful but inept romanticism is hard to resist.
  22. It's only when the action (and the torrential cross-cutting) slows that you start getting to know some of the capable cast....And it's only when the characters begin revealing what they saw while unconscious that FlashForward turns interesting as it examines the interconnectivity of the human experience.
  23. Actually the dimly befuddled Cleveland works pretty well as a foil to the collection of redneck psycho neighbors, oversexed stepchildren and Russian bears (don't ask) who make up the cast.
  24. Until watching The Middle, I would have said it was time the sitcom concept of the madcap mom trying to balance kiddies and career got a decent burial, complete with a stake through the heart. But Heaton and producers Eileen Heisler and DeAnn Heline give the idea new life.
  25. The testosterone-infused interplay as they taunt each other over career potholes, curdled marriages and sexual depravities and deprivations is scathing and hilarious, though an astonishing percentage of it cannot even be alluded to here.
  26. As a cop drama, Haven--marred by busy and blurry story lines--is barely competent. But as a narrative of eccentric, slightly damaged yet ultimately warm characters, it's quite successful. The deadpan my-badge-is-bigger-than-yours needling between Rose and Bryant is particularly engaging.
  27. Though it's intended to be a female buddy show in which she plays off Sasha Alexander's coolly uppercrust medical examiner Maura Isles, Harmon definitely gets the upper hand--at least in the pilot episode.
  28. This remake keeps the scenery and action--exploding cars and AK-47 gunfights appear to be to Honolulu what thieving politicians and senile I-95 motorists are to Miami--but adds some compelling post-9/11 wrinkles.
  29. Raising Hope is low in concept, lower in class and lowest of all in shame--but relatively high in laughs, so long as you keep your living room curtains closed so no one can see you watching.
  30. Whether Belushi is using the firm's private detectives to follow his estranged wife, or O'Connell is sleeping with the prosecutor who's trying to put his client in jail ("You really don't like me much, do you?" she asks while taking off her blouse), the show has an irresistible outlaw quality.

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