David Wiegand

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For 761 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 1.1 points lower than other critics. (0-100 point scale)

David Wiegand's Scores

Average review score: 65
Highest review score: 100 Togetherness: Season 1
Lowest review score: 0 Ground Floor: Season 1
Score distribution:
  1. Negative: 92 out of 761
761 tv reviews
    • 73 Metascore
    • 75 David Wiegand
    The script is a masterpiece of Texas noir, with the kind of dialogue Raymond Chandler might have written if he’d found his way to the area.
    • 73 Metascore
    • 50 David Wiegand
    Depending on your POV and perhaps your age, the show is either rather bland or exactly what you’d expect from the CW.
    • 73 Metascore
    • 75 David Wiegand
    It’s pretty smart and doubly engaging.
    • 73 Metascore
    • 100 David Wiegand
    The miniseries has far more depth and character nuance than you’ll find in, say, a “Marple” or a “Poirot.” Much of that owes to Whitmore’s attention to the telling details of character development and, of course, to the performances, especially Clunes.
    • 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.
    • 73 Metascore
    • 75 David Wiegand
    The action is hot, fast and believable, achieved through quick-cut editing and spot-on direction.
    • 73 Metascore
    • 100 David Wiegand
    Parade's End is a television masterpiece.
    • 73 Metascore
    • 50 David Wiegand
    Aside from the performances by Maslany, especially, and Gavaris, who gets some of the show's best lines, it takes until the third and fourth episodes for Orphan Black to start growing on you.
    • 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.
    • 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.
    • 73 Metascore
    • 75 David Wiegand
    Other episodes seem fairly standard fare, entertaining and involving enough on their own, but lacking the offbeat quirkiness of maple syrup drownings. If the “straightforward” episodes weren’t so well written and directed, this could be a problem of consistency, but as it is, the series is fun and only slightly flawed.
    • 73 Metascore
    • 25 David Wiegand
    Whishaw may keep the human story from being swamped by bad writing and worse direction, but Rampling and Broadbent are doomed.... In the end, none of it makes a great deal of sense.
    • 73 Metascore
    • 50 David Wiegand
    The performances are superb and make Bletchley Circle more than the sum of its pedantic parts.
    • 73 Metascore
    • 75 David Wiegand
    Once they buy into the richly charactered story, it'll be an even bigger challenge to let go.
    • 73 Metascore
    • 100 David Wiegand
    There is a brilliant mix of poignancy and hilarity in Getting On, which is why it all works so well.
    • 73 Metascore
    • 100 David Wiegand
    Every performance is a winner, from Marsan’s mousey Norrell, to Carvel’s brash Jonathan, to Englert’s increasingly mad and self-destructive Lady Pole.
    • 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.
    • 72 Metascore
    • 75 David Wiegand
    The performances of the entire cast of Thirteen, and by Comer in particular, counterbalance many but not all of the weak spots in the over-plotted script.
    • 72 Metascore
    • 75 David Wiegand
    Hit & Miss doesn't take long to convince us that its characters and plot are not only possible, but credible and, dare I say, touching.
    • 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.
    • 72 Metascore
    • 100 David Wiegand
    Everything you fear might be true about how our government works--or doesn't--becomes hilarious fodder for Veep's biting satire.
    • 72 Metascore
    • 75 David Wiegand
    While I liked Marvel’s Agents of SHIELD well enough when it began, I got tired of it after a while because it became repetitive. I have a feeling I’ll stick around longer with Carter, largely because of the nifty period details, the character development and the performances.
    • 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.
    • 72 Metascore
    • 100 David Wiegand
    Every enlightening, poignant or funny word is true in the documentary airing Monday on HBO. The fact that it is so funny eventually becomes strangely sad, which makes the film thoroughly enjoyable but also irresistibly provocative.
    • 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.
    • 72 Metascore
    • 50 David Wiegand
    Ripper Street is a decent but not especially remarkable thriller about crime solving in Whitechapel immediately following Jack's reign of terror.
    • 72 Metascore
    • 50 David Wiegand
    The show itself is slight, the conceit perhaps worthy of an extended sketch, but after two episodes, it begins to feel stretched.
    • 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.
    • 70 Metascore
    • 100 David Wiegand
    "Weeds" may indeed be the best-written new show of the year so far, but the performances are superb as well.
    • 72 Metascore
    • 100 David Wiegand
    The new season is not only as smart and absurdly funny as ever, but also reflects the rapid changes in how we watch television.

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