David Wiegand
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For 543 reviews, this critic has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 0.8 points lower than other critics. (0-100 point scale)

David Wiegand's Scores

Average review score: 64
Highest review score: 100 Luther: Season 2
Lowest review score: 0 The Mob Doctor: Season 1
Score distribution:
  1. Negative: 69 out of 543
543 tv reviews
    • 77 Metascore
    • 75 David Wiegand
    A few missteps notwithstanding, The Bridge crackles with intelligence and great acting at every turn.
    • 78 Metascore
    • 75 David Wiegand
    The performances are very good at every level, in part because the script is good enough to bring out the best in this cast.
    • 73 Metascore
    • 75 David Wiegand
    Of course it's childish, but in a good way as it effectively taps into the kid in everyone, much as "South Park" does. It both celebrates and gently spoofs the traditions of superhero comics.
    • 77 Metascore
    • 75 David Wiegand
    There is much more to the story than the graphic details of the invasion and whether the police could have intervened earlier. The case became a pivotal issue in the debate over the death penalty in Connecticut and that's a big part of the film.
    • 73 Metascore
    • 75 David Wiegand
    Because Rash speaks the same lingo as his subjects, The Writers' Room has the potential to provide real insight into the process of making great TV.
    • 60 Metascore
    • 75 David Wiegand
    The Awesomes is charming, but your enjoyment of it may depend on how much you may already feel over-saturated with animation.
    • 75 Metascore
    • 75 David Wiegand
    The humor is subtle, almost deadpan, but brilliant at every turn. Some moments become excruciating to watch, only because we've formed an immediate affection for Josh and hate seeing him screw things up for himself.
    • 69 Metascore
    • 75 David Wiegand
    Clear History single-handedly rehabilitates the word "derivative," as long as the source material you're reworking is anything Larry David writes and stars in.
    • 70 Metascore
    • 75 David Wiegand
    It may not have the production values of those shows [The Tudors or The Borgias], but it does have an Irons, who, along with the rest of the cast, makes The White Queen an entertaining romp through a complicated and fascinating period of English history.
    • 68 Metascore
    • 75 David Wiegand
    The performances for the most part fill in some credibility gaps in how the characters are written.
    • 78 Metascore
    • 75 David Wiegand
    Television simply doesn't get warmer or fuzzier than Last Tango in Halifax, but the reason the six-part series works so well is that its sweetness is not unalloyed.
    • 64 Metascore
    • 75 David Wiegand
    Suspend disbelief, not to mention your knowledge of Washington Irving's classic tale, because the illogical hodgepodge of myth premiering Monday night is great fun.
    • 64 Metascore
    • 75 David Wiegand
    It may be the nicest show you'll ever see.
    • 70 Metascore
    • 75 David Wiegand
    Both individually and when they play off each other, Braugher and Samberg are reason enough to tune in to Brooklyn Nine Nine.
    • 77 Metascore
    • 75 David Wiegand
    The filmmakers do a very good job keeping all the separate plates spinning for six hours, although, to be honest, the show virtually cries out for a sequel focusing more thoroughly on modern times.
    • 64 Metascore
    • 75 David Wiegand
    Overstuffed though the pilot is, the show works because of the performances.
    • 74 Metascore
    • 75 David Wiegand
    Just enough geeky insider stuff to keep the fan-boys from grousing too much, but an even bigger portion of well-written action, drama, humor and intricate plot details to hook viewers who gave up comic books before Steve Canyon was grounded.
    • 52 Metascore
    • 75 David Wiegand
    The Goldbergs is funnier because the jokes are better but also because it is more credible [than "Mom"].
    • 46 Metascore
    • 75 David Wiegand
    Welcome to the Family may have the most potential of the new Thursday comedies, for the simple reason that it depends largely on careful character development as the grounding for its humor.
    • 71 Metascore
    • 75 David Wiegand
    American Horror Story: Coven ramps the silliness up an enjoyable notch with a story set in a New Orleans school for young witches.
    • 50 Metascore
    • 75 David Wiegand
    Silly as the set-up may seem, it works because of competent writing and convincing performances.
    • 59 Metascore
    • 75 David Wiegand
    The plot is a little overstuffed, but the special effects, crisp direction and high-octane performances keep us interested enough to follow Alice down the rabbit hole.
    • 76 Metascore
    • 75 David Wiegand
    This is not sophisticated, drawing-room humor. It's closest to what they used to call college humor, and what is now considered stoned humor. But beneath the silliness is gentle but still dead-on satire that makes The Birthday Boys worth a look and a laugh.
    • 53 Metascore
    • 75 David Wiegand
    History aside, Reign, created by Laurie McCarthy and Stephanie SenGupta, is not only engaging but also pretty classy for a CW production.
    • 55 Metascore
    • 75 David Wiegand
    Grayson/Dracula and his pals sound closer to characters from a '30s film than a 21st century TV series. But over time, as our modern ears adjust to the melodramatically declarative style, the antiquated dialogue enhances the other-worldly tone of the series.
    • 62 Metascore
    • 75 David Wiegand
    It captures the teeming bleakness of the future world and establishes winning chemistry between Kennex and Dorian.
    • 68 Metascore
    • 75 David Wiegand
    What separates it from "Veep" is that Alpha House almost seems possible, and it's not just because of similarities between the characters and real pols. It's about the mind-set, the dealing, arrogance and boorishness of our shaky legislative branch.
    • 80 Metascore
    • 75 David Wiegand
    The film is both dramatically viable and instructive. Yes, we learn about science, but perhaps more important, we also learn about standing your ground no matter what challenges you face.
    • 83 Metascore
    • 75 David Wiegand
    Interviews with Eddie Murphy, Joan Rivers, Sidney Poitier, Kathy Griffin, Harry Belafonte, Anne Meara, Bill Cosby and others provide ample evidence of Moms' enduring influence. Yet, even if you remember how great she was, you may find yourself wishing there were fewer testimonials and more footage of Moms performing.
    • 69 Metascore
    • 75 David Wiegand
    It's full to overflowing with clever and sometimes very funny geek-speak.
    • 77 Metascore
    • 75 David Wiegand
    The film is cleverly structured as a time-travel flashback, beginning in 1966, at the end of Hartnell's tenancy of the lead role.
    • 70 Metascore
    • 75 David Wiegand
    If the series were just about Breeanna looking for her biological father, it would be passably interesting. But her search also sheds light on a variety of issues that speak eloquently about the nature of a modern family.
    • 58 Metascore
    • 75 David Wiegand
    Rhys and Whittaker are terrific and the two big reasons to watch the series.... Speaking of assets, credibility of the story is nicely enhanced by muted cinematography and art direction, emphasizing that catching spies is done by nondescript men and women who lead seemingly normal lives and work in under-decorated offices deciphering codes and other information.
    • 72 Metascore
    • 75 David Wiegand
    Despite the pluses and minuses of the script, the cast generally delivers the goods, especially Phyllis Logan as housekeeper Mrs. Hughes, Joanne Froggatt as lady's maid Anna Bates, and Jim Carter as Carson, the overseer of the household staff.
    • 50 Metascore
    • 75 David Wiegand
    It's about characters, and both "Chicago Fire" and Chicago PD are filled with them.
    • 67 Metascore
    • 75 David Wiegand
    The series, created by Mara Brock Akil, works for a number of reasons, including Union's performance as a very credible contemporary woman.
    • 69 Metascore
    • 75 David Wiegand
    The show has enough originality and sheer wackiness to maintain viewer interest, not to mention ridiculous effects that are anything but special.
    • 73 Metascore
    • 75 David Wiegand
    [Looking was] filmed entirely in the Bay Area, which is a big part of why the story rings so true. The other parts are the delicately detailed direction by Haigh and the pitch-perfect performances of the cast. All of these elements work together to present a convincing, multidimensional portrayal not only of contemporary gay life but also of contemporary life in general.
    • 62 Metascore
    • 75 David Wiegand
    Kinnear is great in the role because he doesn’t look like a loser--quite the opposite--and that’s important.... Perhaps because this is the pilot, most of the episode is devoted to showing Keegan screwing up and only a few afterthought scenes focus on Torrant’s case. In order to succeed from week to week, the series needs more than just a lot of figurative pratfalls.
    • 67 Metascore
    • 75 David Wiegand
    The show is funny, warm and bloody irresistible because of the care taken with creating characters who are multidimensional, vulnerable and credible.
    • 48 Metascore
    • 75 David Wiegand
    The show is funny enough, although you might wonder where it would go in a second season, but here's the dirty little secret of Mixology: It's intelligent and poignant as well as being entertaining.
    • 54 Metascore
    • 75 David Wiegand
    As has been the case in so many films and TV shows, Sevigny is the most compelling reason to watch Those Who Kill, but if the scripts remain as carefully crafted as that of Monday's pilot, Sevigny will have found a vehicle worthy of her singular skills.
    • 85 Metascore
    • 75 David Wiegand
    At times, there are actual punch lines in the script and the show veers into "writerly" territory.... But make no mistake: You should overlook the shortcomings and enjoy the series on its own otherwise considerable merits, chief among them, of course, Billy Bob Thornton.
    • 70 Metascore
    • 75 David Wiegand
    It remains a well-made and potentially addictive drama, whether you watch it in real time or later on your DVR. Time is still on its side.
    • 70 Metascore
    • 75 David Wiegand
    Even a TV take on the classic Victorian-era penny dreadful has to work to suspend our disbelief, and Showtime's series does that through solid performances by most of the cast, appropriately lurid special effects and a competent, albeit humorless, script.
    • 49 Metascore
    • 75 David Wiegand
    Undateable still doesn't quite capture the zany entirety of D'Elia's comic style, but it comes closer than anything he's done so far. The rest of the cast is solid; the writing works; the familiar situation is at least freshened by snappy direction and appealing characters.
    • 56 Metascore
    • 75 David Wiegand
    It is filled with adventure on the high seas and sex and intrigue on dry land. And, yes, above all, it's fun.
    • 68 Metascore
    • 75 David Wiegand
    The show is generally well written, expertly directed (Thomas Schlamme of "West Wing" directs the pilot) and most of the performances are solid.
    • 71 Metascore
    • 75 David Wiegand
    Almost Royal has enough silliness for both American and British tastes.
    • 54 Metascore
    • 75 David Wiegand
    Both "The Godfather" and Tyrant are, at heart, about family dynamics. As the Al-Fayeed story evolves beyond Tuesday's pilot, that fact becomes clearer.
    • 63 Metascore
    • 75 David Wiegand
    McKellen and Jacobi, who are, of course, giants of their profession, are clearly having a lark with Vicious, and you'd be foolish not to want in on the fun.
    • 68 Metascore
    • 75 David Wiegand
    There are more questions than answers in the pilot of Extant, which, in this case, is a good thing. The seeds of dramatic conflict have been planted, and we're going to come back the next week to see how all of this plays out.
    • 71 Metascore
    • 75 David Wiegand
    Finding Carter stands out by avoiding the obvious.... The cast is uniformly good and the younger actors are notably credible as real teenagers--a rarity in many TV shows. Prescott is terrific.
    • 72 Metascore
    • 75 David Wiegand
    The show's humor is subtle, the plot lines somewhat predictable, but both the individual character development and the interaction among those characters make Sweden more than welcome.
    • 62 Metascore
    • 75 David Wiegand
    The show is fast-paced and sexy, but perhaps its secret weapon is the authenticity of Tony's character as a young Latino resident of the working class, largely Mexican American Boyle Heights area of Los Angeles.
    • 72 Metascore
    • 75 David Wiegand
    The strength of the show is that it reflects the truth that the justice system was created and is administered by men and women, who have complicated thoughts and points of view, and who may mean well, or be blinded by their own frailty and ambition.
    • 65 Metascore
    • 75 David Wiegand
    Worst, created by Stephen Falk ("Weeds"), takes that well-worn conceit and forces it through the cold sieve of contemporary antiromanticism, and the result is often very funny.
    • 63 Metascore
    • 75 David Wiegand
    The flawed but oddly compelling drama Satisfaction takes an especially cynical view of marriage, but it's no laughing matter in the USA drama.
    • 78 Metascore
    • 75 David Wiegand
    Manhattan brings legitimate class to WGN's nascent original content project.
    • 82 Metascore
    • 75 David Wiegand
    Although Blick's structural concept skirts close to mannered gimmickry, it also makes artistic sense. We are slowly but unavoidably drawn into the ever thickening mire of secrets, lies and shifting allegiances in both the lives of the characters and, of course, in the constant strife in the Middle East.
    • 73 Metascore
    • 75 David Wiegand
    Once they buy into the richly charactered story, it'll be an even bigger challenge to let go.
    • 55 Metascore
    • 75 David Wiegand
    The show makes good use of its New Orleans setting and the script hits all the right, albeit familiar, notes.
    • 68 Metascore
    • 75 David Wiegand
    While it’s so fast paced, you barely realize that it isn’t always credible, you do get that it’s always fun.
    • 77 Metascore
    • 75 David Wiegand
    Like "The Cosby Show," to which it inevitably will be compared, Black-ish balances credible family situations with universally appealing comedy.
    • 66 Metascore
    • 75 David Wiegand
    Ben Queen’s sitcom is irresistible.
    • 57 Metascore
    • 75 David Wiegand
    It has real possibilities, but since the “My Fair Lady” climax is repurposed in the pilot, it’s unclear where the relationship will go.
    • 81 Metascore
    • 75 David Wiegand
    The humor is sly and more thoroughly integrated into the plot and characterizations than we’re used to in most sitcoms.... Six episodes just don’t seem enough.
    • 80 Metascore
    • 75 David Wiegand
    Rodriguez is a charmer and as intentionally preposterous as it is, Jane has more than enough plot string to keep it going for a long time.
    • 66 Metascore
    • 75 David Wiegand
    The adaptation is superb as it explores the Austen-James characterization, but Towhidi is ably abetted by Daniel Percival’s exquisite character-focused direction and, of course, first-rate performances from the entire cast.
    • 63 Metascore
    • 75 David Wiegand
    The show’s humor is grounded in Nina’s fish-out-of-water career adjustment to a far less glamorous job and world, which may sound rather obvious, but works because of terrific writing by co-creators Michaela Watkins and Damon Jones.
    • 76 Metascore
    • 75 David Wiegand
    There’s an unabashed quaintness about Normal Street, reminiscent of a time when kids TV was all about fun and homemade adventure.
    • 73 Metascore
    • 75 David Wiegand
    In truth, the drama half of this comedy-drama is a little weak and not as engaging as the comedy. That becomes evident a few episodes in, but, fortunately, the show’s creators don’t linger too long on Hailey’s love life before getting back to the very funny business of running a symphony orchestra.
    • 61 Metascore
    • 60 David Wiegand
    Needs improvement, but it’ll make it. The goal should be to fit the show to Meyers’ obvious strengths, not try to fit Meyers to the show’s template.
    • 32 Metascore
    • 50 David Wiegand
    Despite the fact that the film focuses on just a few critical years of Lennon's life, the pacing is plodding and scattershot at the same time.
    • 55 Metascore
    • 50 David Wiegand
    Morgan is appealing and brilliant in many ways, but as a stand-up comic, he needs better material. Or at least a few different positions.
    • 73 Metascore
    • 50 David Wiegand
    The performances are actually good in the series, if only the actors had credible or remotely likable or, dare we ask, funny characters to play.
    • 49 Metascore
    • 50 David Wiegand
    The real challenge for the writers is to use the show's formula without becoming so enslaved to it that they fail to allow the characters to move beyond being cliches.
    • 65 Metascore
    • 50 David Wiegand
    Regardless of the memories and anecdotes, what these films lack are commentators who can provide cultural context.
    • 48 Metascore
    • 50 David Wiegand
    When the balance is off, as it is too frequently in Harry's Law, it undermines credibility. Bates is almost capable of making us overlook some of the show's problems.
    • 59 Metascore
    • 50 David Wiegand
    Fairly Legal is adequately entertaining, thanks in large part to Shahi, an engaging actress who looks like Anne Hathaway.
    • 71 Metascore
    • 50 David Wiegand
    Despite the fact that Portlandia features different sketches in each episode, the show already begins to feel like a stretch by the second show.
    • 75 Metascore
    • 50 David Wiegand
    The Chicago Code may stick to police-procedural formula, but it does have most of the elements needed to make the show at least a moderate success. With better writing and a bit more imagination, it could do even better.
    • 60 Metascore
    • 50 David Wiegand
    It's hard to judge a show by a single episode (although, in some cases--NBC's "Perfect Couples," for example--the stench is instantly convincing), but Mad Love has at least the seeds of eventual success.
    • 42 Metascore
    • 50 David Wiegand
    It's all pretty average and watchable largely because of the cast.
    • 78 Metascore
    • 50 David Wiegand
    It probably works better onstage, but Stevens should know that what you do to achieve suspension of disbelief in a theater is not what you do to convince an audience that what it is seeing in a film is real.
    • 58 Metascore
    • 50 David Wiegand
    What makes the show at least mildly interesting is that it's not always easy to predict who will make it to the next round and who will be cut.
    • 54 Metascore
    • 50 David Wiegand
    While it seems apparent that seeing the show live would be a hoot, it doesn't translate to television all that well--it just feels shrunken and confined by the medium.
    • 58 Metascore
    • 50 David Wiegand
    Pieces of the familiar Arthurian epic are preserved in the script, but that doesn't mean the characters fit our images of them.
    • 57 Metascore
    • 50 David Wiegand
    Created by David Caspe, Happy Endings needs better writing and characters who don't look like characters in other forgettable sitcoms. Otherwise, this show's ending may be anything but happy.
    • 50 Metascore
    • 50 David Wiegand
    And, in most cases, he has a concept for how the food will look, then has to figure out how to make it work. Taste is important, but seems to be somewhat of an afterthought.
    • 56 Metascore
    • 50 David Wiegand
    F&B will rise or fall almost entirely on the basis of how likable you find Gosselaar and Meyer, not to mention the wisecrack-stuffed dialogue.
    • 61 Metascore
    • 50 David Wiegand
    It is billed as scarier and sexier than the lighthearted film series. It is that, but still plays it safer than, say, "Vampire Diaries" or the "Twilight" films.
    • 47 Metascore
    • 50 David Wiegand
    Drescher is almost as appealing as ever, but the vehicle barely passes inspection.
    • 61 Metascore
    • 50 David Wiegand
    This is what USA does best, and Suits has a good shot of staying on the team. The only real danger is whether viewers will reach the saturation point for this kind of show. That's possible, even if the premise for Suits isn't.
    • 64 Metascore
    • 50 David Wiegand
    The writers have calmed down a bit this season, but they still can't seem to resist the urge for over-the-top plot strings.
    • 63 Metascore
    • 50 David Wiegand
    Of course, it's a coup for SyFy to snag Strathairn for the new series, but this is very much an ensemble piece. The other performers are all great at being unlikely and, at times, downright cranky heroes. Still, while their crankiness is initially appealing, it could wear thin pretty quickly unless they are given really smart crimes to solve.
    • 39 Metascore
    • 50 David Wiegand
    She's foulmouthed, abrasive and suffers absolutely nothing gladly. Yet, as always, her own foibles crack her up as much as they do her boyfriend or visiting eldest son. The fact that she's completely unafraid to hold herself up to ridicule endears her to her audience.

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