[2][3] Robert Bianco, in a review of "Golden Parachute" for USA Today, writes that "[w]hat hasn't changed [from NYPD Blue] is [Caruso's] ability to infuse every line and moment with so much honesty and quiet intensity that you're unable to look away.

[2] Caryn James, in a review of "Golden Parachute" for the New York Times, describes the character's "calm intensity...as if Caine barely holds his explosive investigations together under the blazing sun.

"[6] David Stubbs, writing in The Guardian, comments that the character's "habit of hitching his sunglasses and delivering deadpan one-liners has attracted devotion and derision in equal measure.

[10] West comments that Caine is often filmed in a disorientating fashion, with rapid cuts to very close-range shots, with the character "embedded uncomfortably within the architecture, rather than being in control of his spatial surroundings.

"[10] West extends this analysis into the character's "authoritative yet mildly tolerant" attitude to the entire Miami community, commenting that it is based in Caine's "racial identity... as a white American.

[12] Barbara Kay treats Caine as a "Jesus figure" often depicted "kneeling before orphaned or distressed children, and comforting them"; she notes that his marriage to a "victim-figure with leukemia" was immediately and inevitably followed by his wife's murder.