For 442 reviews, this critic has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 1.1 points lower than other critics. (0-100 point scale)

David Wiegand's Scores

  • TV
Average review score: 64
Highest review score: 100 Push Girls: Season 1
Lowest review score: 0 Beauty and the Beast (2012): Season 1
Score distribution:
  1. Negative: 57 out of 442
442 tv reviews
    • 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.
    • 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
    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.
    • 50 Metascore
    • 75 David Wiegand
    Silly as the set-up may seem, it works because of competent writing and convincing performances.
    • 52 Metascore
    • 75 David Wiegand
    The Goldbergs is funnier because the jokes are better but also because it is more credible [than "Mom"].
    • 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
    It may be the nicest show you'll ever see.
    • 62 Metascore
    • 75 David Wiegand
    It captures the teeming bleakness of the future world and establishes winning chemistry between Kennex and Dorian.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 75 David Wiegand
    It's full to overflowing with clever and sometimes very funny geek-speak.
    • 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.
    • 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.
    • 50 Metascore
    • 75 David Wiegand
    It's about characters, and both "Chicago Fire" and Chicago PD are filled with them.
    • 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.
    • 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.
    • 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.
    • 87 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.
    • 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.
    • 64 Metascore
    • 50 David Wiegand
    Funny in places, but after three viewings of Sunday's debut episode, I'm still trying to figure out if and how the series will advance the original film.
    • 42 Metascore
    • 50 David Wiegand
    It's all pretty average and watchable largely because of the cast.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 50 David Wiegand
    The slowdown of the show's pace is one thing, but the real issue here is that the family element often feels inauthentic and just isn't up to the quality of the CGI-fueled action sequences.
    • 65 Metascore
    • 50 David Wiegand
    Regardless of the memories and anecdotes, what these films lack are commentators who can provide cultural context.
    • 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.
    • 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.
    • 55 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 David Wiegand
    Isaacs makes an attractively moody hero, and both the supporting and guest casts are superb. That said, the episodes tend to meander slowly from plot point to plot point.
    • 47 Metascore
    • 50 David Wiegand
    Drescher is almost as appealing as ever, but the vehicle barely passes inspection.
    • 66 Metascore
    • 50 David Wiegand
    Where everything comes together beautifully in "Broke," New Girl tries too hard and falls short for doing so.
    • 60 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.
    • 43 Metascore
    • 50 David Wiegand
    The show is cozy, predictable, comfortable and, like a good ole' huntin' dog, not in need of serious housebreaking.
    • 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.
    • 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.
    • 48 Metascore
    • 50 David Wiegand
    In the long run, our interest in the show will directly correspond to our interest in whatever celebrity is featured from week to week.
    • 33 Metascore
    • 50 David Wiegand
    The only differences between Last Man Standing and the old "Home Improvement" are that Allen's name is Mike this time, his job is working for a sporting goods company as opposed to a hardware manufacturer, and his three kids are teenage daughters.
    • 67 Metascore
    • 50 David Wiegand
    Beneath all the visual dazzle of the premiere episode, a bit of the groundwork is there, but Schlamme and Orman need to build on it very soon.
    • 66 Metascore
    • 50 David Wiegand
    The show has to get beyond plot predictability and one-dimensional characterization if it's going to survive.
    • 57 Metascore
    • 50 David Wiegand
    Although hyperthymesia is a gimmick, it works.
    • 36 Metascore
    • 50 David Wiegand
    The show's just not as funny as Chelsea Handler is when she's playing Chelsea Handler.
    • 55 Metascore
    • 50 David Wiegand
    The show is moderately entertaining, albeit somewhat predictable.
    • 49 Metascore
    • 50 David Wiegand
    The sitcom, premiering Thursday night, is perfectly adequate, but only that, and it doesn't compare well to the show Cummings co-created, "2 Broke Girls," which premiered Monday on CBS.
    • 63 Metascore
    • 50 David Wiegand
    The Gaytons have created declamatory cartoons. What they needed was a lot more John Ford and a lot less Cotton Mather.
    • 36 Metascore
    • 50 David Wiegand
    The show is passable when its writers remember it is an ensemble piece.
    • 54 Metascore
    • 50 David Wiegand
    Chasing and catching boars may be all well and good, but is it enough to keep us coming back for more every week? Well, if people can watch people fight over storage bins and seeing their cars towed away in South Beach, anything is possible.
    • 39 Metascore
    • 50 David Wiegand
    It's hard to think of anyone likable among the main characters, except for Jeremy. And that's the sly point of the show.
    • 49 Metascore
    • 50 David Wiegand
    Nothing terribly inventive here, but it's fairly easy to like the three guys, especially Faison.
    • 61 Metascore
    • 50 David Wiegand
    The focus of Weed Wars is sometimes frustratingly narrow.
    • 58 Metascore
    • 50 David Wiegand
    It makes for a mildly enjoyable story and it's probably best not to overthink things.
    • 66 Metascore
    • 50 David Wiegand
    As the silly questions, the sillier answers and Norton's ever-burbling laughter continue, we raise the white flag and start laughing.
    • 63 Metascore
    • 50 David Wiegand
    It's not clear from one episode whether the show's warm and fuzzy message can successfully counterbalance implausibility.
    • 58 Metascore
    • 50 David Wiegand
    The show has promise, but the one thing it doesn't yet have that has made "Bones" such a survivor is chemistry.
    • 59 Metascore
    • 50 David Wiegand
    No matter the casting changes, Spartacus remains good, dirty fun.
    • 28 Metascore
    • 50 David Wiegand
    The humor in Rob is broad, occasionally rollicking, not very clever or sophisticated, but some of it works well enough to keep the show going.
    • 63 Metascore
    • 50 David Wiegand
    Obviously, it's necessary to give viewers the backstory on the returning thug of the week, but let's hope that if the show finds its legs, it won't need quite as many reminders of its fundamental concept.
    • 65 Metascore
    • 50 David Wiegand
    The performances are adequate, but in many cases, the cast deserves credit for having to enliven trite, stock situations.
    • 57 Metascore
    • 50 David Wiegand
    NYC 22 (for the 22nd Precinct in Harlem) is pretty average, which is to say: Nothing to write home about and probably nothing that you'll stick with very long.
    • 55 Metascore
    • 50 David Wiegand
    Oddly enough, many viewers may not need to know DC Comics' Issue No. 1 chapter, verse and thought bubble to find Comic Book Men mildly amusing.
    • 55 Metascore
    • 50 David Wiegand
    There are some funny lines here and there, but overall, the show lacks satirical teeth.
    • 51 Metascore
    • 50 David Wiegand
    Maybe Fairly Legal will become a kind of "Good Wife-Lite," with Kate and Lauren doing a whole Alicia and Diane thing, but that's not necessarily bad.
    • 66 Metascore
    • 50 David Wiegand
    The performances are all fine, as far as they go, but the script is filled with heavily telegraphed developments, inept character development and direction so scattershot, you're advised to have a supply of Dramamine at the ready to quell the motion sickness brought on by all the quick cuts.3907328.php#ixzz284ZLgzlk
    • 56 Metascore
    • 50 David Wiegand
    Oddly enough, the business of making duck calls becomes more interesting than you might think.
    • 64 Metascore
    • 50 David Wiegand
    To enjoy the show, though, you really have to suspend disbelief at many points, just as you do with "Grey's." There are moments when the frenetic drive for cleverness prompts some rather silly decisions about plot points.
    • 54 Metascore
    • 50 David Wiegand
    The writing is light and somewhat predictable, without quite hitting the level of sassy repartee of the "grand old men" of the USA stable, Dulé Hill and James Rodale of the deservedly long-running "Psych."
    • 38 Metascore
    • 50 David Wiegand
    It makes sex seem boring.
    • 59 Metascore
    • 50 David Wiegand
    The production details and Stewart Harcourt's script are quite effective, but the film's pacing is too drawn out.
    • 57 Metascore
    • 50 David Wiegand
    The series is kind of a mess, but one you can't really look away from.
    • 62 Metascore
    • 50 David Wiegand
    Except for Hagman, the performances are adequate without ever standing out, which may be one of the reasons it does take so long to care much about the younger Ewings.
    • 74 Metascore
    • 50 David Wiegand
    Bunheads will take some work and it could just as easily become either annoying or likable.
    • 44 Metascore
    • 50 David Wiegand
    This is all fairly predictable stuff and makes for a show that you'd watch because of the cast but would never put in the top tier of TV shows or talk about the next day at the office.
    • 51 Metascore
    • 50 David Wiegand
    Both shows [Bunheads and Baby Daddy] are agreeable additions to the ABC Family stable, even if they don't really break any new ground.
    • 47 Metascore
    • 50 David Wiegand
    Sullivan & Son doesn't break any new ground, and you'll probably have a sense of deja vu all over again as it evokes "Cheers" and, more subtly, "Everybody Loves Raymond."
    • 41 Metascore
    • 50 David Wiegand
    The comedy--anything but edgy--is one cee-ment pond and half a fancy eatin' table away from "The Beverly Hillbillies," and is rooted in the inevitable culture clash of a Tennessee family adjusting to life in Southern California.
    • 64 Metascore
    • 50 David Wiegand
    Raydor is cut from different cloth that her predecessor and that's going to take some getting used to.