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 Pushing Daisies: 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. There's nothing at all subtle about the gloriously absurdist Wilfred.
  2. Cathy's modest conception of throwing caution to the winds mirrors the strengths of The Big C, which is affecting precisely because of its refusal to assume epic proportions.
  3. 30 Rock... is pretty darn funny, a bitterly merry comic jihad against corporate stupidity and mendaciousness.
  4. The Company is a gripping requiem for the Cold War and the men who fought it.
  5. Ben and Kate is sometimes shrill, sometimes belligerent and sometimes (well, a lot of times) merely stupid. It is never funny.
  6. It flickers with longing and resentment, vulnerability and rejection, temptation and moral erosion. It is totally absorbing television. [5 Aug 2003, p.1E]
    • Miami Herald
  7. Sheen and Cryer breathe some life into this thing, but a mercy killing might have been simpler. [22 Sept 2003, p.4E]
    • Miami Herald
  8. Neatly staged, with one surprise after another in a geometric progression of suspense, The Event's pilot episode leaves a lot of tantalizingly unanswered questions.
  9. If not exactly compelling, the pilot episode is engaging and often quirkily funny.
  10. Watching Better Off Ted is a bit like reading old Dilbert comic strips--amusing, but the punch lines seem awfully familiar.
  11. Welcome to ABC's V, the final, the most fascinating and bound to be the most controversial new show of the fall television season.
  12. The show's boorishness is exceeded only by its dissimulation; not one frame of this thing--from the diners who seem not to notice that their table is surrounded by camera crews to the melodramatically villainous managers--is remotely believable.
  13. 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.
  14. Original in concept, intelligent in execution, it's a scruffily Steinbeckian chronicle of life at the social and economic margins.
  15. Murder and sexual predation sure look fun when they're done by pretty people in luscious gowns. Jeremy Irons is splendidly depraved as Rodrigo, and Holliday Grainger (Robin Hood) so sunnily sweet as Lucrezia that it's damn near impossible to hold a little arsenic against her.
  16. Beneath its estimable comic trappings, Go On is something larger: a meditation on what makes life worth living.
  17. The show is a rampage of frequently inappropriate and always cuttingly funny jokes about sex, drugs, money and most of all the penthouse/flophouse culture clash between the two characters.
  18. It's a stylish, elegantly plotted tale of a young woman's sociopathic thirst for vengeance.
  19. Having started with a bad premise, producers Carlton Cuse and Kerry Ehrin then made it infinitely worse by rejecting the loneliness and isolation that were the nucleus of Hitchcock’s film.
  20. No television series has been built around a less likable character, or rendered itself so strangely, compulsively watchable as a result.
  21. This truly hideous sitcom offers a postmodernist take on the 1960s comedy That Girl, in which Marlo Thomas starred as an aspiring actress afflicted with insufferable cuteness.
  22. 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.
  23. Ultimately, Person Of Interest is built on too cockamamie of a premise to be taken seriously.
  24. The excellent cast keeps drawing you back--especially Donald Sutherland as family patriarch Tripp Darling, whose evil glint makes even as benign a phrase as ''good morning'' sound like ''I'm going to put an ice pick through your eye.'' Even better is Krause's portrayal of Nick, layers of exasperation upon fascination upon temptation.
  25. 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.
  26. The smirky cynicism, savage mockery of New Age verities and prickly atheism of its lead character could have made The Mentalist fascinating (if not altogether pleasant) viewing. Instead, it turns down the same formulaic path as CBS' other police procedurals, a sort of CSI-with-a-fake-crystal-ball.
  27. 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.
  28. Bello's performance as the weather-beaten Timoney, swabbing her emotional scars with alcohol, nicotine and invective, is easily the highlight of the fall television season.
  29. O'Dowd and Garai are fascinating as they make their characters grow in opposite directions--he more steely, she more compassionate--over the course of the show.
  30. No Ordinary Family is no comic-book kiddie show but a perceptive and engaging comedy-drama about domestic dysfunction.

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