For 333 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 1.2 points higher than other critics. (0-100 point scale)

Diane Werts' Scores

  • TV
Average review score: 66
Highest review score: 100 Friday Night Lights: Season 2
Lowest review score: 0 Partners (2012): Season 1
Score distribution:
  1. Negative: 49 out of 333
333 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]
    • 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]