David Wiegand

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For 869 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 1.6 points lower than other critics. (0-100 point scale)

David Wiegand's Scores

Average review score: 65
Highest review score: 100 Justified: Season 2
Lowest review score: 0 Powerless: Season 1
Score distribution:
869 tv reviews
    • 74 Metascore
    • 75 David Wiegand
    The script is evocative of Fielding’s “Tom Jones, a Foundling” (1749) or Defoe’s “Moll Flanders” (1722), and the performances are sublime. Morton and Manville make engaging adversaries--rather like 18th century versions of “Dynasty’s” Alexis and Krystle.
    • 74 Metascore
    • 50 David Wiegand
    Bunheads will take some work and it could just as easily become either annoying or likable.
    • 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.
    • 74 Metascore
    • 100 David Wiegand
    Westworld isn’t easy to understand at first, but you will be hooked nonetheless by unusually intelligent storytelling, powerful visuals and exceptionally nuanced performances.
    • 74 Metascore
    • 100 David Wiegand
    Even without the original source material, Cinema Verite offers provocative insight into how far we've become lost in the reality-TV wilderness in the past 40 years.
    • 74 Metascore
    • 100 David Wiegand
    Game Change is graced by three extraordinary performances in the leading roles, beginning with Moore's portrayal of Palin, which is both complex and entirely credible.
    • 73 Metascore
    • 50 David Wiegand
    The scripts are adequate and many of the performances are effective. In spite of revisiting familiar territory, Humans could be more engaging if it had a greater sense of urgency. As it is, the show is, you should pardon the expression, just a tad too robotic.
    • 73 Metascore
    • 75 David Wiegand
    Elementary will probably infuriate Sherlock Holmes purists, but other viewers are likely to find it gripping and well cast.
    • 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
    • 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.
    • 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
    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.

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