David Wiegand

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For 912 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 1.5 points lower than other critics. (0-100 point scale)

David Wiegand's Scores

Average review score: 66
Highest review score: 100 Vinyl: Season 1
Lowest review score: 0 Z Nation: Season 1
Score distribution:
912 tv reviews
    • 48 Metascore
    • 50 David Wiegand
    The Royals is entertaining but disappointingly toothless.
    • 45 Metascore
    • 50 David Wiegand
    It's about several friends at various relationship stages--long married, single and looking, single and finding, on the verge of divorcing--who envy each other for reasons that will probably elude most viewers because the characters are too self-involved and uninteresting.
    • 69 Metascore
    • 50 David Wiegand
    The comedy is gentle, a bit musty here and there, but the show grows on you. One reason is that everyone is so gosh darn likable.
    • 52 Metascore
    • 50 David Wiegand
    The show’s sex and violence propel the story, but not quite to the speed necessary to occlude its problems. If you work extra hard to suspend disbelief, it’s modestly entertaining.
    • 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.
    • 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.
    • 46 Metascore
    • 50 David Wiegand
    Reckless isn't anything close to being great TV, but it's diverting, especially as a summer replacement.
    • 63 Metascore
    • 50 David Wiegand
    The character complexities, special effects and attention to detail position The 100 well on the CW food chain.
    • 72 Metascore
    • 50 David Wiegand
    HBO’s Confirmation isn’t the first TV project to play it safe, but in this case, playing it safe results in a missed opportunity that has as much to do with what’s happening in the real world as it does with timid filmmaking.
    • 54 Metascore
    • 50 David Wiegand
    The script is workmanlike rather than inspired or in any way profound.
    • 58 Metascore
    • 50 David Wiegand
    The problem is that Berlanti and Co. just seem to be falling back on a template at this point, and not paying enough attention to the kind of details that have made “Arrow” and “The Flash” so good. If they want or need to fix the show, casting should be at the top of their to-do list. Most of the actors are acceptable; a couple are not.
    • 60 Metascore
    • 50 David Wiegand
    At first, Ralph seems a little old for the part of Quentin, but he skillfully personifies a postgraduate man-child. The show’s special effects are deftly executed and the script is nicely crafted with twists, turns and surprises to hold our attention
    • 68 Metascore
    • 50 David Wiegand
    Baskets is bold, it is courageous, but it doesn’t really work. It’s not that a TV comedy has to offer wall-to-wall belly laughs, but unrelenting bleakness with the minor relief of a few scattered bits of dry humor--no matter how much it may aspire to a neo-Beckettian level--ends up being more bemusing than amusing.
    • 38 Metascore
    • 50 David Wiegand
    It makes sex seem boring.
    • 65 Metascore
    • 50 David Wiegand
    The actors make Muhammad Ali's Greatest Fight seem better than it is, but the real Ali, with all his youth, vigor, bravado and passion, convinces us that he and his case deserved much better.
    • 62 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.
    • 38 Metascore
    • 50 David Wiegand
    The premise is intriguing, but the execution fizzles, for the most part.
    • 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.
    • 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.
    • 42 Metascore
    • 50 David Wiegand
    Tipton is the big reason we might keep watching. The voice-over self-narration is annoying and a poor substitute, as usual, for dramatizing the story.
    • 59 Metascore
    • 50 David Wiegand
    While the film's tone may fit the kind of fuzzy warmth of most Hallmark Channel fare, it doesn't fit the tension and brutality of what African Americans experienced in Alabama in 1963.
    • 70 Metascore
    • 50 David Wiegand
    The more we get to see each concept, the more interesting The Chair could become. But strap yourself in for long, detailed meetings, mostly populated by people wearing knit caps, about stuff that either will make no sense to you or that you don't care about.
    • 63 Metascore
    • 50 David Wiegand
    Iron Fist is the weakest link here, but because he is just a link, there are other characters who can do more of the heavy lifting. The first four of the series’ eight episodes are enjoyable, and Jones, Colter and Cox are especially fun to watch. Whether you’re a Universe denizen or a newbie, there’s no heavy lifting in The Defenders for audience members, either.
    • 68 Metascore
    • 50 David Wiegand
    Wright has thrown everything into the mare’s nest of a plot you can think of--and the reason you can think of it is because most of it is pretty standard for nighttime soap operas. The one unexpected element, of course, is religion.
    • 37 Metascore
    • 50 David Wiegand
    The show has a certain sunny Miami gloss, but that doesn’t blind us to the generally perfunctory script, the flat pacing and the useful but unremarkable dialog. Everyone involved really deserves better, including the audience.
    • 57 Metascore
    • 50 David Wiegand
    Limitless is the more preposterous of the two shows ["Rosewood" is the other show], but despite its shaky premise, ends up being just a scosh more engaging.
    • 74 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.
    • 65 Metascore
    • 50 David Wiegand
    With The Leftovers, we know very little and care less and less as the story slouches along.
    • 71 Metascore
    • 50 David Wiegand
    While other comic book shows try to replicate the fantasy of the source material at every level, Gotham tries to walk a thin line between realism and fantasy. It seems to work--for now, at least. But you have to wonder about the challenges the series will face once those larvae become full-fledged, whackadoodle villains. Trying to have it both ways is courageous, but courage doesn’t guarantee success.
    • 79 Metascore
    • 50 David Wiegand
    The show is nicely written, but just that, and the performances are almost universally engaging. The exception to that is the performance that kicks the whole reboot up several notches: Rita Moreno’s.

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