For 391 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 0.8 points lower than other critics. (0-100 point scale)

Diane Werts' Scores

Average review score: 65
Highest review score: 100 Veronica Mars: Season 1
Lowest review score: 0 Partners (2012): Season 1
Score distribution:
  1. Negative: 58 out of 391
391 tv reviews
    • 60 Metascore
    • 58 Diane Werts
    de Cadenet's interesting. Her talk show is much less so.
    • 60 Metascore
    • 67 Diane Werts
    If it wasn't a docucomedy, it would just be dull.
    • 47 Metascore
    • 60 Diane Werts
    This isn't "Friends," after all. At its hour length, "Related" asks us to take the Sorelli saga somewhat more seriously. Yet it provides sitcom incidents that can't stand the significance test.
    • 38 Metascore
    • 40 Diane Werts
    Alex O'Loughlin is bogged down by trite dialogue, half-hearted support, perfunctory exposition, and better-to-look-good-than-make-sense production priorities.
    • 59 Metascore
    • 83 Diane Werts
    Beals and company (including Joe Morton as her remarkably flesh-and-blood boss) breathe life into this tale the way their characters restore life to patients, with skill and guts and, crucially, souls that radiate precisely what this show is about.
    • 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.
    • 59 Metascore
    • 83 Diane Werts
    Future episodes aren't as snappy or scenic. But Shahi & Show deliver win-win, anyway.
    • 59 Metascore
    • 67 Diane Werts
    There's too much going on to tell what might ultimately stick, other than the contents of the Mallow Marsh.
    • 59 Metascore
    • 83 Diane Werts
    The cast throws this curveball that catches the plate for a strike.
    • 59 Metascore
    • 91 Diane Werts
    You can see Neverland as sly philosophical discourse, or you can see it as fantastically produced adventure. Just make sure you see it.
    • 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.
    • 59 Metascore
    • 58 Diane Werts
    Consider Seed the cutoffs and flip-flops of the comedy dress code. Acceptable in summer. But just barely.
    • 59 Metascore
    • 75 Diane Werts
    As episodes unfold, the relationships resonate, and the characters run deeper.
    • 59 Metascore
    • 30 Diane Werts
    A second-rate knockoff of what's not quite a first-rate fabrication itself.
    • 59 Metascore
    • 60 Diane Werts
    The wit can get a little heavyhanded sometimes - yes, it's another series with voiceover narration (can anybody say "Sex and the City"?) - but its heart, and head, are in the right place.
    • 59 Metascore
    • 70 Diane Werts
    It's a romp and a half.
    • 59 Metascore
    • 91 Diane Werts
    Strong personalities evoke the hold of the old, the tug of the new, and that intersection's human fireworks.
    • 59 Metascore
    • 67 Diane Werts
    Should Lopez go big and broad with cultural comedy, trafficking so hard in stereotypes they seem all the more absurd? Or stay subtle and let its less-enlightened characters hang themselves? “Lopez” can’t decide, overloading its pilot with maid/valet/parole jokes (those crazy Mexicans!) vs. “white-man problems.”
    • 58 Metascore
    • 50 Diane Werts
    We've seen this show before, in fresher settings, with stronger comic structure --from, in fact, the same creators: Merchant and American "Office" writers Lee Eisenberg and Gene Stupnitsky.
    • 50 Metascore
    • 40 Diane Werts
    There's nothing to relate to here, just to observe from afar, and only Tambor's as-always deft comic distraction gives us anything worth glancing at.
    • 58 Metascore
    • 90 Diane Werts
    This eccentric assemblage truly captures the distinct feel of Vegas-the night, the gallows humor of grisly work and the people who thrive on it. Sure, it's seedy, surreal and supremely specific. That's why we're hooked. [6 Oct 2000, p.B51]
    • Newsday
    • 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.
    • 58 Metascore
    • 75 Diane Werts
    Hardly a treasure, but a lively island of adventure.
    • 58 Metascore
    • 91 Diane Werts
    The Assets isn't flashy, but boy, is it effective. It just grinds away, laying down intriguing details of "asset" care and feeding, made vivid through determined performances and intense crescendos.
    • 58 Metascore
    • 75 Diane Werts
    Bloody pirate battles? Check. Graphic sex scenes? Check. Shoreside conniving/intrigue? Intense.
    • 57 Metascore
    • 67 Diane Werts
    The pilot is so busy establishing its new world, performances are afterthought generic. But Defiance gets more distinctive, and dramatic, through its next two hour episodes.
    • 28 Metascore
    • 20 Diane Werts
    This one isn't David Spade's fault. Really it isn't.
    • 54 Metascore
    • 40 Diane Werts
    Whoa, pardner. Calm down. There's too much struttin' and puffin' in the pilot for our taste. Rich casting and drama possibilities get mired in improbable events. And the basic premise -white father rides in to save black city? -is asking for trouble. [6 Oct 2000, p.B51]
    • 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.
    • 57 Metascore
    • 91 Diane Werts
    There's humor, there's heart, you'll laugh when you don't expect to.

Top Trailers