Miami Herald's Scores

For 502 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 7.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Six Feet Under: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 266
  2. Negative: 0 out of 266
266 tv reviews
  1. No television series has been built around a less likable character, or rendered itself so strangely, compulsively watchable as a result.
  2. Original in concept, intelligent in execution, it's a scruffily Steinbeckian chronicle of life at the social and economic margins.
  3. 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.
  4. There's nothing at all subtle about the gloriously absurdist Wilfred.
  5. Sheen and Cryer breathe some life into this thing, but a mercy killing might have been simpler. [22 Sept 2003, p.4E]
  6. If not exactly compelling, the pilot episode is engaging and often quirkily funny.
  7. 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.
  8. Putting aside for a moment questions about whether it signifies the imminent collapse of Western civilization and even the human reproductive impulse, this version of Nikita can still provide a rollicking, if slightly psychotic, good time.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. It's a stylish, elegantly plotted tale of a young woman's sociopathic thirst for vengeance.
  14. Beneath its estimable comic trappings, Go On is something larger: a meditation on what makes life worth living.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. Political Animals can be slightly murky when it comes to invoking issues and ideologies. But when it comes to the microlevel of politics, the misdirection and machinations politicians employ to satisfy their own ambitions and thwart those of others, Political Animals is peerless.
  23. If the imitation is pale, it's also competent. And Schwartzman's wistful but inept romanticism is hard to resist.
  24. No Ordinary Family is no comic-book kiddie show but a perceptive and engaging comedy-drama about domestic dysfunction.
  25. Durst’s books all offer the same engaging elements that the BBC makes such excellent use of in this two-part miniseries: The claustrophobic lifeboat atmosphere of a society teetering toward its doom.
  26. Hilarious. [4 Aug 2005]
  27. Ultimately, Person Of Interest is built on too cockamamie of a premise to be taken seriously.
  28. This peculiar comedy-drama has some cockeyed wrinkles that make it interesting.
  29. Roth makes for a tartly witty hero, the mysteries are intricately plotted, and the show makes the most of the weird dynamics of an office where the boss can ferret out everybody's secrets.
  30. 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.