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 7.9 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 New Girl: Season 1
Score distribution:
  1. Mixed: 0 out of 277
  2. Negative: 0 out of 277
277 tv reviews
  1. Not since HBO’s The Wire left the air five years ago has a television series combined urban decay and moral decrepitude in such stark--and yet compulsively watchable--terms.
  2. Samantha Who? is not only a sitcom but a pungently funny one about self-discovery, reinvention and the possibility that beauty may be only skin-deep, but bitch goes right down to the bone.
  3. 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.
  4. 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.
  5. The answers unfold with a delicious tension that makes Graceland an unexpected pleasure.
  6. Sons of Anarchy is bloody, disturbing and maniacally addictive.
  7. For the first time since Married...With Children stood the genre on its head two decades ago, somebody has come up with a new take on the family sitcom, and the results are riotously funny.
    • 67 Metascore
    • 80 Critic Score
    Pillars does a surprisingly good job of maintaining story coherence. It also avoids what might be called the Fairytale-Princess Fallacy of costume dramas; the muck and brutality of the Middle Ages are on full display.
  8. The subtext of loss and longing, which sometimes isn’t all that sub, makes The Crazy Ones a tightrope act. But Kelley gets tremendous support from his cast. The madcap Williams has never been better, and Gellar’s performance is a magnificently winning mixture of quiet desperation, mounting rage and wistful yearning.
  9. Mad Men is a captivating experience.
  10. Sharply contrasting with the florid Borgias is AMC's emotionally spare and atmospherically dank series The Killing.
  11. In The Flesh at first seems to be offering itself as a fractured metaphor, with zombies standing in for blacks, gays, Muslims or the social victim of your choice. But the show quickly veers into something sweeter, sadder and more thoughtful--a meditation on forgiveness, redemption and second chances.
  12. 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.
  13. It's a stylish, elegantly plotted tale of a young woman's sociopathic thirst for vengeance.
  14. Happily, Golden Boy not only manages a fairly original take on cop shows but actually turns out to be surprisingly intriguing.
  15. Starz, however, has re-imagined the doings of Arthur, Guinevere and the gang as a bloody, bodice-ripping medieval soap opera, and the result is surprisingly satisfying.
  16. Guys With Kids is a perfect confection of witty dialogue and slapstick action.
  17. This peculiar comedy-drama has some cockeyed wrinkles that make it interesting.
  18. You just can't get through two minutes of Back to You without a belly laugh.
  19. It is at once insanely juvenile and very sophisticated, appealing to a funny bone that, as an adult, I try to hide. I feel guilty about laughing, but I laugh anyway. [13 Aug 1997]
    • Miami Herald
  20. It's the lack of moral clarity that makes Damages so spellbinding. Every character wears multiple masks; every action is cloaked in ambiguity and, often, outright duplicity.
  21. Schreiber’s powerful portrayal of a man whose elemental rage is on a collision course with a rising moral consciousness is the driving engine of Ray Donovan. But it may not even be the show’s best performance.
  22. Last Resort's premise alone promises a pretty good action thriller. But co-creator (with Karl Gajusek) and writer Shawn Ryan has produced something much bigger and better than an exercise in bang-bang.
  23. That single season will be hellacious fun. Stuffed with visual puns and sly homages to horror movies from Jaws to Poltergeist, Harper's Island relentlessly mocks film grammar with set pieces that take off in unexpected directions.
  24. Unforgettable is a quirky, captivating take on the police procedurals that have been a staple of the CBS schedule over the past decade.
  25. Miller and Liu, simultaneously irritating and charming each other, make Elementary far more watchable than anybody could have expected.
  26. Big Shots matches affecting characters with genuinely funny stories and dialogue.
  27. A perverse pleasure to watch.
    • 74 Metascore
    • 80 Critic Score
    It's hilarious...The series doesn't break new ground artistically, but it's got a main character who's already a classic. He seems as fully formed as Frasier or Seinfeld's Kramer. He could become television's new king of self-delusion. [10 Aug 1996, p.1G]
    • Miami Herald
  28. Americans in their 20s have few good-time memories in their young-adult lives. If they can be coaxed away from their computers to the television screen, they may find themselves bonding with the characters of the well-acted and intelligently written My Generation.

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