For 341 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Diane Werts' Scores

Average review score: 65
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 Stalker: Season 1
Score distribution:
  1. Negative: 51 out of 341
341 tv reviews
    • 46 Metascore
    • 80 Diane Werts
    The show feels lived-in, making it all the more inviting to dwell there ourselves. [23 Sept 2003, p.B23]
    • Newsday
    • 79 Metascore
    • 80 Diane Werts
    The busy season premiere quickly constructs an intriguing seesaw of aspirations and emotions, and it's self-contained enough to sell itself to even Nip/Tuck newcomers.
    • 67 Metascore
    • 80 Diane Werts
    A soul-deep sense of humanity grounds "Heroes."
    • 71 Metascore
    • 80 Diane Werts
    "Big Love" does more this year than you might expect, and more richly, more provocatively, more dramatically and amusingly, too.
    • 65 Metascore
    • 80 Diane Werts
    A rich character drama and riveting suspenser that makes Fox's "24" seem lackluster.
    • 28 Metascore
    • 80 Diane Werts
    The characters are vibrantly well-defined... And the writing is smart, with a light touch.
    • 73 Metascore
    • 80 Diane Werts
    Any doubts the tube can get graphic enough for today's gore-heads disappear almost instantly with tonight's premiere installment.
    • 80 Metascore
    • 80 Diane Werts
    As bizarre as things can get, Torchwood still feels more like sci than fi, and more ego/id than alien vs. human. The Gwen character in particular radiates intelligence, and empathy, and curiosity, about what's out there and what lies inside Jack. We can't help but share her, um, enthusiasm.
    • 62 Metascore
    • 80 Diane Werts
    Uncompromisingly revelatory.
    • 72 Metascore
    • 80 Diane Werts
    The second season of CBS' cult fave broadens beyond the first season's lawless action and family sentiment, even its rallying sense of community, to a wider and deeper purpose.
    • 73 Metascore
    • 80 Diane Werts
    It's hard to convey all the ways that this tightly directed show goes right: quietly observant character detail, solid sleuthing, play-it-straight absurdity and sneaky "Airplane!"-style parody riffs.
    • 75 Metascore
    • 80 Diane Werts
    Richness of detail permeates this modern tube-noir. The more damage done, the more juicy fun for us to savor.
    • 75 Metascore
    • 80 Diane Werts
    This fall's most satisfying series delight.
    • 77 Metascore
    • 80 Diane Werts
    "Dexter" knows what it's doing, and savors its skill immensely.
    • 52 Metascore
    • 80 Diane Werts
    The filmmakers' assurance makes this miniseries play more like bang-up drama than fact-filled documentary. Yet their facts pass informative muster, and emotional validity, too.
    • 46 Metascore
    • 80 Diane Werts
    It's fabulous in every sense of the word.
    • 70 Metascore
    • 80 Diane Werts
    "Mrs. Harris" unfolds with a basic playfulness that keeps the mood light even as the story becomes dark indeed.
    • 65 Metascore
    • 80 Diane Werts
    As well as New Yorkers know these three characters, it's amazing how quickly the real faces fade and the three actors here become their own "strong-willed people."
    • 59 Metascore
    • 80 Diane Werts
    Samantha Who? which is not nearly as cool a title, but still a sparkling comedy that treats its viewers as--gasp!--actual grown-ups.
    • 66 Metascore
    • 80 Diane Werts
    Good thing is, this ABC hour lives up (down?) to its name, arriving as a wacky/kinky escapist saga of screwed-up rich folks and the down-to-earth family attorney/fixer hired to sort out their shenanigans.
    • 63 Metascore
    • 80 Diane Werts
    ABC's latest single-camera comedy is utterly relatable. Even better, it's filled with the same warm yet witty, always smart and eccentric vibe as previous misfit-student faves "Square Pegs," "Popular" and "Malcolm in the Middle."
    • 86 Metascore
    • 80 Diane Werts
    On top of the stars' subtlety and Fuller's verbal wit, Sonnenfeld's pilot direction ladles layers of flashy frosting--theatrical camera angles, emphatic zooms, intensified color and those heavyhanded moments when the narration can't quite straddle the sap line.
    • 74 Metascore
    • 80 Diane Werts
    Humans vs. cyborgs in a movie spin-off that's surprisingly effective for fans of both action and character drama.
    • 70 Metascore
    • 80 Diane Werts
    Like a series of one-act two-handers--stage plays where just a pair of actors face off--this sneaky little gem steadily strips away its therapy patients' emotional defenses and excuses, exposing the raw fears and paralyzing reactions beneath.
    • 74 Metascore
    • 80 Diane Werts
    The real-world intrigue is matched in dramatic flair by Chuck-world jeopardy. His store's fierce assistant-manager competition resounds as fatefully as saving the universe from evil. Which makes the dark light enough and the light dark enough to meld into a tasty escapist treat.
    • 77 Metascore
    • 80 Diane Werts
    This narrated comedy-drama finely observes the particulars and peculiarities of teen life, both in the family its narrator is trying to outgrow and the high school pecking order he's hoping to rise in.
    • 81 Metascore
    • 80 Diane Werts
    It's all sharp and snappy.
    • 70 Metascore
    • 80 Diane Werts
    Giving us hope are Kapinos' brisk writing and Duchovny's agile performance, conveying smarts, savvy, self-indulgence and sad stupidity in equal amounts.
    • 69 Metascore
    • 80 Diane Werts
    These folks know how to hit a note, and hold it, which means "Burn Notice" doesn't wobble around wondering how serious/silly to be. Its pitch is perfect.
    • 77 Metascore
    • 80 Diane Werts
    This impressive fact-based debut from cultural journalist turned director Nelson George keeps us captivated simply by honing in tight on the character of its people, sketching in fine detail not just their admirable strengths but their all-too-human flaws.
    • 79 Metascore
    • 80 Diane Werts
    They've translated the radio show's aural mosaic to the visual medium so effortlessly in this first season of six half-hours, we hope Showtime orders more of this life we all can recognize.
    • 61 Metascore
    • 80 Diane Werts
    Fans of "The Sopranos" looking for a new Sunday-night must-see may find it here - though perhaps not fans driven to fits by that HBO hit's ambiguous conclusion.
    • 73 Metascore
    • 80 Diane Werts
    Creator Vince Gilligan ("The X-Files") never loses touch with the mundane reality that so brilliantly magnifies its absurd horrors.
    • 53 Metascore
    • 80 Diane Werts
    The "quarterlife" series, too, offers an especially hopeful kind of exuberance, even a glowing warmth to the friendships, that shines brighter than previous Herskovitz-Zwick shows.
    • 53 Metascore
    • 80 Diane Werts
    Who'da thunk this one'd be so adorable? Cox gets to cook comedically in this smart souffli, with great support from von Esmarch and company. Big bonus: elaborate weekly production numbers spoofing Godzilla, the penitentiary and, of course, the French Revolution. Love those decapitated dancers! [6 Oct 2000, p.B51]
    • Newsday
    • 90 Metascore
    • 80 Diane Werts
    Human beings live on the corner, and "The Corner" makes us care about them. [16 Apr 2000, p.D15]
    • Newsday
    • 57 Metascore
    • 75 Diane Werts
    Gravity looks like another slow build. Its characters aren't as directly defined, and initial episodes exhibit curious methods to its storytelling madness.
    • 53 Metascore
    • 75 Diane Werts
    The "Melissa & Joey" pilot is no great shakes. But Melissa and Joey could be.
    • 56 Metascore
    • 75 Diane Werts
    The Whole Truth equals " Law & Order: The Next Generation." It's still just a little too overeager and needs to mature.
    • 65 Metascore
    • 75 Diane Werts
    Proceed with caution into this foul but funny cauldron of catastrophe.
    • 62 Metascore
    • 75 Diane Werts
    Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.
    • 60 Metascore
    • 75 Diane Werts
    Being Human echoes, move for move, the BBC America fave of the same name. Yet, Syfy simplifies the tone into young-adult novelhood, where there's lots of white space around really big print. Subsequent episodes improve as plots thicken.
    • Newsday
    • 46 Metascore
    • 75 Diane Werts
    Producers clearly encourage some to-the-camera carping, but the overriding emotional tone is one of bonding and growth. And respect. In a reality competition!
    • 49 Metascore
    • 75 Diane Werts
    Rule-breaking law enforcers! Wherever have we seen this before? But it sure works Friday, seasoned with devil-may-care brio from a cool cast.
    • 75 Metascore
    • 75 Diane Werts
    The indulgence gets annoying, even as the basic details are fascinating and fun, as are the seductive testimony settings. You gotta love the fantasy of all those swank joints and modern mansions.
    • 68 Metascore
    • 75 Diane Werts
    Super set-up seems to punch every teen ticket there is, with plenty to admit adults, too. Future execution will be key--in more ways than nine.
    • 56 Metascore
    • 75 Diane Werts
    Sometimes, you're not looking for great TV. Sometimes, you're looking for par-tay! And dudes paid "to mess with the zombie culture," while also acing the case, surely fits the bill.
    • 70 Metascore
    • 75 Diane Werts
    For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.
    • 54 Metascore
    • 75 Diane Werts
    Inexorably transfixing, whether you're taking names or taking notes.
    • 64 Metascore
    • 75 Diane Werts
    A well-rounded, nicely mature comedy.
    • 56 Metascore
    • 75 Diane Werts
    Hoggers is more down-market than Beers' crab fishermen and ice road truckers.
    • 55 Metascore
    • 75 Diane Werts
    Which isn't to say Duck Dynasty isn't entertaining. It's just more of the same.
    • 58 Metascore
    • 75 Diane Werts
    Hardly a treasure, but a lively island of adventure.
    • 51 Metascore
    • 75 Diane Werts
    It does well what standard sitcoms do.
    • 65 Metascore
    • 75 Diane Werts
    Bible Challenge tries to cover all bases in America's complicated Christian field.
    • 42 Metascore
    • 75 Diane Werts
    No, it's not exactly "House." But it isn't like any other show, either, with its mad mix of moral dilemmas, medical crises, family ties, double-life-living and, y'know, rubouts 'n' stuff.
    • 65 Metascore
    • 75 Diane Werts
    The pilot's envelope-pushing is caustic and obvious, two things Mom seems better than. Faris is both gutsy and touching as the adult trying to get her act together, while Janney's crafty adolescence extends to a third generation around Faris' two kids.
    • 43 Metascore
    • 75 Diane Werts
    The Save Me pilot saves itself artistically. But debuting in a summertime double dose makes series salvation improbable.
    • 54 Metascore
    • 75 Diane Werts
    Just as people either drink or don't, you'll get it or you won't.
    • 73 Metascore
    • 75 Diane Werts
    The Writers' Room winds up more anecdotal than explanatory. Heavily edited/compressed, it makes for a breezy half-hour if not necessarily revelatory disclosure, at least in the three episodes sent for review.
    • 50 Metascore
    • 75 Diane Werts
    From "The Mod Squad" to "Being Human," TV's young misfits find it [family] where they can, and Tomorrow is that next step, too. Scripter Phil Klemmer wrote for "Chuck" and "Veronica Mars," good arguments for promise here (and "Undercovers," a bad one).
    • 50 Metascore
    • 75 Diane Werts
    The starter hour picks up steam whenever loose-cannon Amick bops around--although Ormond does a nice job of grounding its shenanigans in a semblance of reality.
    • 67 Metascore
    • 75 Diane Werts
    Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.
    • 58 Metascore
    • 75 Diane Werts
    Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
    • 73 Metascore
    • 75 Diane Werts
    If not all things to all people, this Oscar salute should be enough for most.
    • 50 Metascore
    • 75 Diane Werts
    Turgid dialogue obscures intriguing ideas, amid uneven echoes of civil rights and supremacist crusades.
    • 48 Metascore
    • 75 Diane Werts
    Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.
    • 65 Metascore
    • 75 Diane Werts
    The pair has recast the concept and their chemistry into a suburban setting that feels fresher and friendlier, truly finding its footing at 10:30 with Sloane (and those gnomes).
    • 61 Metascore
    • 75 Diane Werts
    Is there anything great here? No. Is it goofy fun? Yes.
    • 59 Metascore
    • 75 Diane Werts
    As episodes unfold, the relationships resonate, and the characters run deeper.
    • 51 Metascore
    • 75 Diane Werts
    The pilot is itself uneven, with the go-for-bonkers impudence of a live-action "Family Guy." But without it, Mystery Girls might be just another ABC Family-com for viewers who have aged out of Disney Channel and silly situations with sentimental topping for studio audience uproar.
    • 48 Metascore
    • 75 Diane Werts
    [The Canadian comedy all-stars] give it good vibes. But the scripts, despite mad moments of whimsy, can't keep pace with the cast's comic timing and tone.
    • 60 Metascore
    • 75 Diane Werts
    The Lottery, with otherwise sage setup and promising performances, merits its own shot at something great.
    • 56 Metascore
    • 75 Diane Werts
    Solid star turn, eerie production values, even a killer ending.
    • 64 Metascore
    • 70 Diane Werts
    Smart. [23 Aug 1998, p.D10]
    • Newsday
    • 79 Metascore
    • 70 Diane Werts
    So far no amnesia bouts or cougar attacks. And no Kim! [9 Jan 2005]
    • Newsday
    • 59 Metascore
    • 70 Diane Werts
    It's a romp and a half.
    • 65 Metascore
    • 70 Diane Werts
    It's one tasty piece of lunacy.
    • 63 Metascore
    • 70 Diane Werts
    The writing is pointed, the direction tight. But what really makes it work is Tori herself, light, bright and vulnerably likable.
    • 45 Metascore
    • 70 Diane Werts
    The best thing about "Free Ride" is the lack of pressure to be about something. Trusting its talented cast to embody their own truths, it ambles and weaves, leaving space for the characters, even folks briefly bumped into, to nail a specific attitude or situation.
    • 54 Metascore
    • 70 Diane Werts
    Like many Lifetime productions, this one is designed to make you stand up and take action on a hot-button issue. Unlike many, it's got the dramatic chops to keep you on your feet applauding.
    • 59 Metascore
    • 70 Diane Werts
    Watch the first few minutes of "The Class" in its CBS sitcom debut tonight, and you may not believe me when I say this, but here goes. I think they might have something here.
    • 48 Metascore
    • 70 Diane Werts
    There's enough human drama here to keep us occupied without having the walls fall down, too.
    • 60 Metascore
    • 70 Diane Werts
    Good actors can get away with glib, and Woods is one of the best, persuasive enough to have you spotting freshness in the familiar and wisdom in cliches.
    • 44 Metascore
    • 70 Diane Werts
    The emotional reality is so true here that not only do they get away with an assortment of gags about condoms, massage parlors and other juvenile fixations, but they make them resonate endearingly.
    • 45 Metascore
    • 70 Diane Werts
    Don't believe the critics who tell you "Hidden Palms" stinks after they watched only the first episode.... This is a seriously involving serious show. A show about something.
    • 62 Metascore
    • 70 Diane Werts
    There's warmth and wit there, along with not a little magic.
    • 53 Metascore
    • 70 Diane Werts
    A pretty nifty, if completely insane, suspense/conspiracy/ chase/road adventure.
    • 65 Metascore
    • 70 Diane Werts
    The show moves more like a ready-for-prime-time comedy than a kiddie toon. Think "The Simpsons" with soul.
    • 50 Metascore
    • 70 Diane Werts
    Ultimately, viewers just have to work a lot harder to fathom John from Cincinnati than Tony from Jersey.
    • 65 Metascore
    • 70 Diane Werts
    The intimate moments have a gutsy realness, and the central characterizations are bedrock enough to sell us through the stereotypes.
    • 66 Metascore
    • 70 Diane Werts
    What Canterbury has powerfully going for it, besides the magnetic/vulnerable Margulies, is a cast surrounding her with equal strength, from principled second Ben Shenkman to Terry Kinney as their sneaky prosecutorial adversary, plus an array of effective guest stars from the rich East Coast acting pool.
    • 58 Metascore
    • 70 Diane Werts
    It's daring, disconcerting and/or enlightening.
    • 72 Metascore
    • 70 Diane Werts
    Disney's HSM2 delivers precisely what's required. And America is all ears.
    • 38 Metascore
    • 70 Diane Werts
    Many viewers will find its satire way over the line, but they're not the ones The WB is aiming for. [6 Oct 2000, p.B51]
    • Newsday
    • 55 Metascore
    • 70 Diane Werts
    We're happy to see a multigenerational sitcom, and the pilot has some nice writing. But the effort feels somehow strained. Though stage veteran Byrne has charisma, he's hardly a sitcom natural. So maybe that's the point. A sitcom that doesn't behave like one. Hope springs eternal. [6 Oct 2000, p.B51]
    • Newsday
    • 54 Metascore
    • 67 Diane Werts
    Sad thing is, I'm a geek girl myself, who'd be happy to love this mad mix of technology, action and "humor" if it were, you know, actually funny more often than just cheaply offensive. Less pander, more wit, please.
    • 78 Metascore
    • 67 Diane Werts
    Thurgood feels more "important" than dramatic. Part of it is Stevens' then-I-did-this structure, more focused on biographical bullet points than the flesh-and-blood human behind them. And part of it is Fishburne, who despite coiled power--his Ike Turner in "What's Love Got to Do With It" was Oscar-nominated--resonates here as a cool character rather than a fiery one.
    • 60 Metascore
    • 67 Diane Werts
    If it wasn't a docucomedy, it would just be dull.
    • 30 Metascore
    • 67 Diane Werts
    The angel on my shoulder says H8R is a piece of slime, bringing out the worst in everyone involved. But the devil on my other shoulder says this show is the logical outcome of our culture's celeb-obsession, and everyone involved gets precisely what they deserve. Which is soooo fun to watch.

Top Trailers