David Wiegand

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For 917 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: 65
Highest review score: 100 Quality Balls: The David Steinberg Story
Lowest review score: 0 Z Nation: Season 1
Score distribution:
917 tv reviews
    • 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.
    • tbd Metascore
    • 75 David Wiegand
    What was true about the first season holds for the second: Regardless of the links between characters and their stories, Full Circle never feels claustrophobic or insular. Instead, the experience of watching the series becomes counterintuitively universal, the more we get to know these flawed and complicated characters.
    • tbd Metascore
    • 75 David Wiegand
    The heart of “Kareem” is, of course, Kareem Abdul-Jabbar. He sits down for an interview and tells his story, openly and without any of the trademark reticence.
    • 65 Metascore
    • 75 David Wiegand
    Occasional PSA breaks aside, Asylum is all in great and occasionally gory fun, and the cast members deliver the over-the-top dialogue with a heaping topping of relish.
    • 71 Metascore
    • 75 David Wiegand
    Most of all, the writing is what really drives Mr. Mercedes. The naturalistic pacing and character development provide a superior cast with more than enough fuel for a gripping ride.
    • 44 Metascore
    • 75 David Wiegand
    Allen brings the whole TV-series self-consciousness bit home in the final minutes of the last episode, but he needn’t have worried. The fact that he hasn’t spent the past half-century trying to remake “My Mother the Car” enables him to simply adapt what he does best for the so-called small screen. And it’s a good fit. The performances are winning, with wonderful cameo contributions.
    • 79 Metascore
    • 75 David Wiegand
    Lights Out may not reach the level of "The Sopranos," but it has enough going for it to at least earn a shot at the title.
    • 72 Metascore
    • 75 David Wiegand
    It’s clearly a challenge to keep the story from being entirely mawkish, but Stewart Harcourt manages to invest it with authentic sentiment throughout. Charles Sturridge’s direction is attentive and well paced. ... Gambon is magnificent, making us feel every second of Churchill’s frustration and fear as the stroke robs him of his ability to speak, and the metaphorical weight of aging.
    • 66 Metascore
    • 75 David Wiegand
    Broke is rich with laughs, warmth and credibility. The performances by the two lead actresses are instantly winning, both individually and as they play off each other.
    • 80 Metascore
    • 75 David Wiegand
    He holds forth telling wonderful stories about his childhood, about working as a "tummler" at Grossinger's, what it was like working with Sid Caesar and his enduring love for Gene Wilder, whose role in "Blazing Saddles" initially went to Gig Young, in between clips from too few of his many great films and TV work.
    • 64 Metascore
    • 75 David Wiegand
    This is pure comedy, with no hidden social agendas, no thinly disguised commentary on human behavior--nothing at all of much importance, except a whole lot of laughs.
    • 84 Metascore
    • 75 David Wiegand
    As credible as the film is, what isn’t always clear is why we should care if people want to believe in the Hubbard gospel, or give the church wads of cash each time they want to reach a new clarity level.
    • 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.
    • 69 Metascore
    • 75 David Wiegand
    The script is nicely detailed as it builds on the theme of a corrupt system fed by corrupt players. The one obstacle you’ll encounter, especially in early episodes, is that the biz-speak--most likely evidence of Sorkin’s participation in the writing--is almost impenetrable unless you work for the Financial Times.
    • 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.
    • 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.
    • 68 Metascore
    • 75 David Wiegand
    In the end, the very droll and compelling Billy & Billie is much more than just a case of sibling revelry.
    • 68 Metascore
    • 75 David Wiegand
    Don't try too hard to make sense of it: Covert Affairs is simply--and simple--fun.
    • 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.
    • tbd Metascore
    • 75 David Wiegand
    On the basis of the first episode, you’re likely to come to the same conclusion I did: Eight is not enough.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 75 David Wiegand
    The writing is nicely peppered with contemporary references, but, more to the point, effective character-based humor. In other words, this show is funny.
    • 83 Metascore
    • 75 David Wiegand
    The performances continue to be winning on every level, and O’Malley’s scripts are works of tragicomic beauty.
    • 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.
    • 57 Metascore
    • 75 David Wiegand
    The script by Evan Wright, Seth Fisher and Nick Schenk bristles with appealing gee-whiz energy, and the performances by Huisman, Aramayo and Hall, as well as those of the supporting cast, are perfectly in tune with the retro sensibility of the film.
    • 69 Metascore
    • 75 David Wiegand
    Two things are clear from the Mindy pilot: First, that the writers need to do some work to make the secondary characters less of a cliche, and, second, that Kaling has the stuff to go the distance.
    • 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.
    • 67 Metascore
    • 75 David Wiegand
    In a world that has exploded with instantaneously accessible information, television news is hard-pressed to figure out how to keep up. It takes a show like Vice to make other news magazine shows seem like they belong in a TV antiques shop.

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