For 334 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 1.1 points higher than other critics. (0-100 point scale)

Diane Werts' Scores

Average review score: 65
Highest review score: 100 Glory Hounds: Season 1
Lowest review score: 0 Partners (2012): Season 1
Score distribution:
  1. Negative: 50 out of 334
334 tv reviews
    • 98 Metascore
    • 100 Diane Werts
    Whether it's Brent's starry-eyed foppishness, Dawn's artistic daydreams or Gareth's organizational stiffness, these are characters we don't see on American TV. They're not accomplished, clever or distinctive. But they're so well-observed, and so subtly personified, that it's as if we're finding amusement in people we know. [21 Oct 2004]
    • Newsday
    • 94 Metascore
    • 100 Diane Werts
    "Galactica" is so beautifully designed, shot, edited and acted that you can practically smell and taste its emotional validity.
    • 92 Metascore
    • 100 Diane Werts
    Wallops don't get more walloping than the one that arrives at the end of the premiere of FX's adult cop show The Shield. Won't tell you what it is, and don't you dare read other reviews in case they blab it. This is one of those punch-in-the-stomach moments of TV you'll want to remember being stunned by. Although The Shield looks pretty dang good to that point - or pretty %@$#! good, as its characters would swear - the show suddenly becomes flat-out brilliant. [12 Mar 2002, p.B27]
    • Newsday
    • 91 Metascore
    • 100 Diane Werts
    Showtime lets them take their time to spin serpentine story lines, gradually pulling us deep into one very sticky, scary web of intrigue.
    • 91 Metascore
    • 91 Diane Werts
    The complex impact of the crime--and of its investigation, news coverage and town reaction--is the real story here, laid out in the decidedly ordinary faces and raw silent spaces that British drama delivers so well.
    • 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
    • 89 Metascore
    • 100 Diane Werts
    Man, is this a good show...Boomtown is so good, it single-handedly restores your faith in broadcast networks. They can compete with the "freedom" of premium cable. All it takes is creative smarts. And NBC's Boomtown has plenty of those. [27 Sept 2002, p.B02]
    • Newsday
    • 89 Metascore
    • 100 Diane Werts
    Nobody tries to be funny here, so they're more hysterical than the folks falling all over themselves elsewhere. They're simply hopeless specimens of spoiled humanity who haven't a clue how to operate in the real world. [2 Nov 2003, p.04]
    • Newsday
    • 33 Metascore
    • 40 Diane Werts
    So much of tonight's series pilot feels so glib and rings so false, it's hard to believe this soapy saga comes from the quality-not-quantity production team of Tom Fontana and Julie Martin.
    • 88 Metascore
    • 100 Diane Werts
    This show captures a distinct culture, and the people jockeying for places in it, trying to prove, mostly to themselves, that their lives have value. And so Friday Night Lights has more than almost any network show today. [5 Oct 2007, p.B33]
    • Newsday
    • 87 Metascore
    • 90 Diane Werts
    This stuff is good. No, superb.
    • 87 Metascore
    • 80 Diane Werts
    Originally a half-hour sitcom, redeveloped into a light hour, this latter-day "Northern Exposure" creates its own eccentric, cantankerous, sweet and silly world. Can this wacky enchantment last? [6 Oct 2000, p.B51]
    • Newsday
    • 87 Metascore
    • 90 Diane Werts
    The most intriguing thing, actually, is that Lost may not even need the hoodoo voodoo. Abrams and script creator Damon Lindelof ("Crossing Jordan") have already set up a pretty compelling cross- section of earthlings as a study of simply human behavior. [19 Sept 2004, p.11]
    • Newsday
    • 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.
    • 85 Metascore
    • 83 Diane Werts
    A great concept, mostly divorced from reality, with superb execution, just might extend forever.
    • 85 Metascore
    • 100 Diane Werts
    Humor is also key in the capacious pilot hour directed by John Madden ("Shakespeare in Love"). Subsequent episodes echo its deft balance of epic scope and whimsical humanity.
    • 85 Metascore
    • 100 Diane Werts
    Party Down took awhile to jell, but it has hit its stride as one of TV's most finely observed comedies.
    • 83 Metascore
    • 100 Diane Werts
    The documentary cannily employs Goldberg's enthusiasm and some clever animations over Moms' audio routines to keep this lost legend's influence in the forefront.
    • 83 Metascore
    • 90 Diane Werts
    The producers' storytelling bravura grabs your guts from the first tense second and doesn't let go. [29 Oct 2002]
    • Newsday
    • 74 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.
    • 82 Metascore
    • 100 Diane Werts
    Every character bursts with life here, in what may be the most fully realized show on TV. [13 Aug 2007]
    • Newsday
    • 70 Metascore
    • 80 Diane Werts
    "Mrs. Harris" unfolds with a basic playfulness that keeps the mood light even as the story becomes dark indeed.
    • 44 Metascore
    • 50 Diane Werts
    The stories may hardly be innovative... but their very familiarity becomes comforting.
    • 81 Metascore
    • 80 Diane Werts
    It's all sharp and snappy.
    • 81 Metascore
    • 100 Diane Werts
    They [directors John Dorsey and Andrew Stephan] know how much to say, and show, to viscerally deliver the sights, sounds and even smells, without scaring us away.
    • 81 Metascore
    • 100 Diane Werts
    For a show forever detonating bombs, it's surprising how sweet and frothy Tara feels. Just a half-hour long, it doesn't waste a second, pulling a gun within the first few and no punches ever.
    • 81 Metascore
    • 100 Diane Werts
    Hip, clever and hilarious...A sparkling little character study, quirky comedy, relationship drama and all-around delight. [5 Oct 2000, p.B43]
    • Newsday
    • 81 Metascore
    • 100 Diane Werts
    Best show of the season? Call me crazy, but it's a loopy-twisted-serpentine whodunit revolving around a whip-smart teenage girl...So let's recap. Engaging star, cool characterizations, witty scripts, meaty backstory. What's not to like? Only that networks always cancel deliciously offbeat gems like this. Let's hope UPN doesn't actually want to be a "real" network, after all. [22 Sept 2004, p.C01]
    • Newsday
    • 80 Metascore
    • 91 Diane Werts
    Browncoats Unite keeps the focus on the work itself. And that's what keeps "Firefly" afloat.
    • 63 Metascore
    • 20 Diane Werts
    The only thing deep in tonight's Firefly premiere, though, is the well of cliches into which Whedon dips for what passes for plot and exposition. [20 Sept 2002, p.B02]
    • Newsday
    • 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.
    • 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.
    • 79 Metascore
    • 91 Diane Werts
    This evocative hour doesn't lionize Steinem, but simply lays out what happened.
    • 79 Metascore
    • 100 Diane Werts
    Even film school snobs like me can learn a thing or 10 from Moguls & Movie Stars. The breadth and depth of information rushing through each hour is astonishing.
    • 64 Metascore
    • 70 Diane Werts
    Smart. [23 Aug 1998, p.D10]
    • Newsday
    • 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.
    • 72 Metascore
    • 70 Diane Werts
    Disney's HSM2 delivers precisely what's required. And America is all ears.
    • 79 Metascore
    • 70 Diane Werts
    So far no amnesia bouts or cougar attacks. And no Kim! [9 Jan 2005]
    • Newsday
    • 79 Metascore
    • 80 Diane Werts
    There's real thought behind The West Wing, a blessed exhilaration in this increasingly apolitical medium. For those who remember when '70s TV comedy took on the world, this is a welcome arrival. True, the pilot takes some fish-in-a-barrel potshots at sanctimonious evangelists, in Sorkin's speechifying manner from "Sports Night." But it also delivers that series' satisfying depth of reflection and rich characterization. Eventually. Once we know who these people are. [21 Sept 1999, p.B27]
    • Newsday
    • 78 Metascore
    • 80 Diane Werts
    A nice balance of 60-40 character drama and medicine. "Homicide" heavyweight Braugher is intense once again, yet smart enough to keep sharing the screen with a strong ensemble. [10 Oct 2000]
    • Newsday
    • 78 Metascore
    • 90 Diane Werts
    This four-hour gem is exquisite from start to finish, rife with the texture of its place and time, rich with human understanding expressed in everyday articulation and small gestures.
    • 78 Metascore
    • 100 Diane Werts
    As real as real gets, invaluably adding human understanding to a hot-button topic.
    • 78 Metascore
    • 91 Diane Werts
    No matter where you stand on the death-penalty debate, this is must-watch revelation--and, thanks to Herzog, tense and suspenseful drama.
    • 78 Metascore
    • 91 Diane Werts
    [These women make] instant impact, of course, with their stories but also through sheer personality.
    • 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.
    • 78 Metascore
    • 91 Diane Werts
    It's less the Plot Events that ring true here than the well-played little side moments and background squabbles, the simmering resentments and recriminations, the emotional tugs-of-war.
    • 78 Metascore
    • 90 Diane Werts
    [A] rewardingly seasoned new drama series that's practically indistinguishable from the acclaimed feature film, except that it's better.
    • 77 Metascore
    • 80 Diane Werts
    "Dexter" knows what it's doing, and savors its skill immensely.
    • 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.
    • 77 Metascore
    • 50 Diane Werts
    To steal from the old beer slogan, (this show) looks great, (but it's) less filling (than it intends).
    • 57 Metascore
    • 25 Diane Werts
    Some amusing bits, but for every one of those, there are 10 misfires.
    • 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.
    • 37 Metascore
    • 30 Diane Werts
    Carpoolers is like a flimsy "Saturday Night Live" skit pounded home and running on beyond endurance. Actors sputter their lines, dither and whimper like some 1950s sitcom.
    • 31 Metascore
    • 10 Diane Werts
    Little of it adds up to much of anything but foul-minded mischief.
    • 48 Metascore
    • 70 Diane Werts
    There's enough human drama here to keep us occupied without having the walls fall down, too.
    • 75 Metascore
    • 80 Diane Werts
    This fall's most satisfying series delight.
    • 75 Metascore
    • 91 Diane Werts
    Garcia's single-camera editing amplifies the comedy inherent, rather than being a crutch to create it. And the casting here is as good as "Earl," which is saying something--even if Leachman goes a bit off the rails as wacked-out "mamaw."
    • 75 Metascore
    • 80 Diane Werts
    Angel upholds Whedon's spellbinding "Buffy" mantle and expands it, taking his surprisingly mature and witty view of life among the supernatural into an adult realm. [5 Oct 1999, p.B27]
    • Newsday
    • 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
    • 90 Diane Werts
    He's rude, sarcastic, bitter, brilliant and, delightfully, the most compelling character of the fall TV season. [14 Nov 2004, p.11]
    • Newsday
    • 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.
    • 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.
    • 75 Metascore
    • 90 Diane Werts
    This playful hour gets under your skin with its quirky personality humor, at the same time it's spinning a pretty fair murder yarn. [12 July 2002, p.B51]
    • Newsday
    • 75 Metascore
    • 100 Diane Werts
    They know how to nail situations/characters, while snappy edits cull fluff, leaving only comic gold.
    • 75 Metascore
    • 58 Diane Werts
    Its hasty pace frequently muddles precisely who's who where, when or why. Even the zippy sex scenes play like another gratuitous burst of firepower.
    • 75 Metascore
    • 91 Diane Werts
    Complaining about the show's pre-fab structure is like shootin' fish in a barrel--no point to ask what's-the-point, no fair to ponder whether it's fair, because you end up with dinner anyhow, and folks gonna gobble it. Duck Dynasty is tasty enough.
    • 48 Metascore
    • 30 Diane Werts
    There's certainly comedy to be found in these basic situations, but not in "Lucky Louie's" confounding approach or stilted presentation.
    • 74 Metascore
    • 83 Diane Werts
    Spader seems to be the only one who actually gets the gameplay here.... And the script seems to incite his appetite.
    • 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.
    • 51 Metascore
    • 40 Diane Werts
    The women's friendship radiates authentic undertones, beneath all the gooed-up personal drivel, although it's way too convenient how they always show up simultaneously at the same crime scenes.
    • 74 Metascore
    • 90 Diane Werts
    The 10 hours of PBS' immersive miniseries Carrier are frank and intimate, hard-hitting and heart-rending, rocking (with hit songs) and rolling (when the ship pitches so sharply, planes can't land).
    • 74 Metascore
    • 91 Diane Werts
    Producer Beers' team is the gold standard in male-aimed reality, and these guys have grit to burn.
    • 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.
    • 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.
    • 74 Metascore
    • 83 Diane Werts
    Bunheads seems to know exactly what it's doing.
    • 74 Metascore
    • 80 Diane Werts
    Creator Vince Gilligan ("The X-Files") never loses touch with the mundane reality that so brilliantly magnifies its absurd horrors.
    • 73 Metascore
    • 50 Diane Werts
    ABC's new computer animated Shrek half-hour seems to disqualify itself from the timeless category almost immediately by insisting on being "hip" (which means anti-hip), usually at the expense of feeling real.
    • 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.
    • 73 Metascore
    • 75 Diane Werts
    If not all things to all people, this Oscar salute should be enough for most.
    • 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.
    • 58 Metascore
    • 70 Diane Werts
    It's daring, disconcerting and/or enlightening.
    • 58 Metascore
    • 40 Diane Werts
    There's just too much shtick and not enough personality, especially when the stars' previous hits found their funny in relatable human behavior.
    • 73 Metascore
    • 91 Diane Werts
    A head-spinning, yet deeply humane, thrill ride.
    • 73 Metascore
    • 83 Diane Werts
    Yes, Outlander can occasionally be a bit much for those not already enamored of its romance-novel leanings. (I plead guilty.) But for those open to textured historical sweep and/or time travel what-ifs (guilty on both counts), it's easy to lose yourself in this gritty production's pungent sense of place, character and dilemma.
    • 70 Metascore
    • 60 Diane Werts
    Murphy's concept in its basics is already beautiful. But he pushes the show to be a breathtaking knockout. Like some plastic surgery patients, Nip/Tuck initially gets such a pleasing result that it doesn't seem to know when to stop.
    • 72 Metascore
    • 80 Diane Werts
    This is just an action fairy tale, a modern Saturday afternoon serial or contemporary penny dreadful, designed to keep us hanging on its every outlandish turn by exasperating us, if necessary, with characters we love to hate and contrivances we delight in dissing. ... It's insulting to our intelligence. And we can't stop watching. [28 Oct 2003]
    • Newsday
    • 54 Metascore
    • 40 Diane Werts
    Yikes, this is calculating. Ouch, is it way too self-aware (even for teens). There's a caste system in high school? Are you shocked to learn this? [29 Sept 1999, p.B03]
    • Newsday
    • 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.
    • 72 Metascore
    • 60 Diane Werts
    [The episodes are] smarter than you might expect but not quite as clever as they work at being. Like the family unit it portrays, this dark/lighthearted drama tries to have everything at once and struggles under the far-reaching effort.
    • 59 Metascore
    • 50 Diane Werts
    If only the series works its way toward more effective show than tell, Las Vegas might find itself with a winning hand.
    • 72 Metascore
    • 90 Diane Werts
    Layering such unnatural proceedings into the family-drama format only intensifies both story angles when you do it right. And Cassidy has, with strong casting, solid structure and a fine feel for what's most frightening.
    • 72 Metascore
    • 83 Diane Werts
    Caprica feels torn between soulfully mature ruminations and adolescent "accessibility" for gamers wondering where the space action went. Let's hope the pilot's spellbinding second hour points the way toward greatness.
    • 71 Metascore
    • 20 Diane Werts
    Calling Rome a crushing disappointment would be accurate but too forgiving of its sordidly cockamamy fixations. Brutality and nudity rise in direct proportion to unpersuasive storytelling. Finding someone, anyone, to care about amid all this shock-value Sturm und Drang swiftly becomes an enervating chore. [26 Aug 2005, p.B33]
    • Newsday
    • 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.
    • 71 Metascore
    • 91 Diane Werts
    Finding Carter isn't some teen show. It's a stellar drama.
    • 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.
    • 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.
    • 70 Metascore
    • 83 Diane Werts
    The show has sneaky depth. The leads are pretty without being "pretty," refreshingly down-to-earth likable, and able to flesh out their youthful stereotypes with this weird thing called personality.
    • 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."
    • 40 Metascore
    • 10 Diane Werts
    NBC's superficial knockoff is just Lipstick on a pig.