Miami Herald's Scores

For 504 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 The Wonder Years: 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. Its raffish ethnic and class humor takes no prisoners.
  2. The cynical and cerebral Threshold is the darkest of the three new space-alien shows, so much so that the producers seem to be wondering if the human race is even worth saving.
  3. 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.
  4. Watching him color in the lines of his own personality is fascinating. [19 Sept 2002]
  5. Missing here is the complexity that makes shows like "L.A. Law" or "Hill Street Blues" fun to watch. Executive producer Dick Wolf has said Law & Order is not an ensemble show. What it is is a show about police and legal procedures -- and they're recounted in almost documentary fashion. Of course, as with so much TV law, time is collapsed and these complicated procedures are neatly wrapped up by the show's conclusion. [9 Sept 1990, p.H1]
  6. With enough chemistry between its stars to power a DuPont lab and a wise use of off-the-beaten-path South Florida shooting locations -- it goes for a fetid swamp over South Beach every time -- The Glades is thoroughly enjoyable.
  7. 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.
  8. To say that Love Monkey is derivative and predictable is not quite the same as saying it's bad.
  9. Cooper and Somerville... keep things moving.
  10. The Michael J. Fox Show (which debuts with back-to-back episodes) is never cloying or condescending. And any time it seems to be veering toward disease-of-the-week-movie territory, you can be sure that lampoon is on the way.
  11. 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.
    • 64 Metascore
    • 80 Critic Score
    South Riding has everything you could want from a Masterpiece event: perfect period details, a forlornly gray surf, a swelling soundtrack, disputes over crunchy-gravel real estate, whistling trains and black-tie dinners in hotels, a believable and compelling story involving multiple characters and plots and a faithfulness to its original material that allows for a textured, even sorrowful, bleakness.
  12. By the end, Sleepy Hollow seems less like a show than a garage sale of used story pitches.
  13. It's ABC's attempt to replicate last season's wildly successful intergenerational comedy Modern Family, and, like many genetic experiments, it ends in mutant disaster.
  14. Revolution is big, bold and brassy adventure, a cowboys-and-Indians story for end times.
  15. With the debut of Julia Louis-Dreyfus' show tonight, [Seinfeld] has now spawned five relentlessly unfunny and compulsively unwatchable sitcoms.
  16. True Blood is an unlikely but irresistible mixture of pungent political satire, observant pop sociology and lurid drive-in thrills.
  17. In its first episode, Barbershop drops the ball, mistaking mere profanity for edginess and digging for laughs in dull, typical sitcom fashion. [14 Aug 2005, p.5]
  18. Every case is wrapped up in precisely 42 terse minutes, with no dangling threads to trouble consciences or make syndication sales tough. If you liked any of the other L&Os, you'll probably like this one. If you didn't, well....
  19. What it does have is a sleek but shallow cast that cannot lend any weight to the lighter-than-air writing.
  20. This tale of a lonely cop left behind by everyone--partners, friends, lovers, even the criminals he pursues--has a piercing melancholy that elevates it way above its fantasy trappings.
    • 63 Metascore
    • 50 Critic Score
    Whatever Carey's trademark humor may be, it's lost in the translation to this forgettable show. [13 Sep 1995]
  21. Nor is The L Word all sexual sturm und drang. Its light moments are laugh-out-loud funny. [18 Jan 2004, p.3M]
  22. Akerman has wit and style, and so does the show.
  23. Like the people whose story it tells -- those bright, over- educated, social-climbing, New York killer careerists and consumerists (I'm avoiding the dreaded Y-word here) -- Baby Boom is affected, but stylish. Like its subjects, it can be annoying with its display of superficial trappings like a designer kitchen. But once the veneer is stripped away, the show -- and its main character, J.C. Wiatt (the reliably engaging Jackson) -- can be rather pleasant. [10 Sept 1998, p.B1]
  24. Mob City would be better if it were just a little bit more raw--there’s something amiss when a putative sleazy jazz dive looks like you could eat off the floors. But its proudly pulpy sensibilities and its startling plot twists make it a whiskey-and-a-shot pleasure.
  25. It's a provocative mishmash of future shock and peculiar anachronisms. [19 Sept 2002, p.E1]
  26. With dazzling action scenes and a pair of stars who ooze charm and sensuality, Undercovers easily overcomes its predictability.
  27. The reshot pilot episode that will be broadcast Tuesday is no longer irritating, but neither is it distinctive, just one more humdrum cop drama, notable only for wasting a high-powered cast that includes Michael Imperioli (The Sopranos) and Aisha Hinds (True Blood).
  28. Sins of fathers and mothers not only visit each of the characters, but infest them; the show shimmers with an inner core of volcanic anger that makes it far more interesting than your average family soap.