For 344 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 0.3 points higher than other critics. (0-100 point scale)

Diane Werts' Scores

Average review score: 65
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 Big Shots: Season 1
Score distribution:
  1. Negative: 51 out of 344
344 tv reviews
    • 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
    • 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
    • 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.
    • 39 Metascore
    • 40 Diane Werts
    The pilot serves up flashy ooh-ah instead of anything tangible to wrap our arms around.
    • 69 Metascore
    • 40 Diane Werts
    There's greatness begging to be grasped here, and nobody has a handle on it.
    • 47 Metascore
    • 40 Diane Werts
    An energetic attempt ... What there isn't, unfortunately, is enough character development to make you care about anybody or anything. [1 Jan 1998]
    • Newsday
    • 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
    • 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.
    • 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.
    • 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.
    • 49 Metascore
    • 40 Diane Werts
    Tonight's "Skating" debut glides onto the air in a weird sort of middle zone, not quite cheesy enough to skewer, yet too much a cheese-product to take seriously.
    • 54 Metascore
    • 40 Diane Werts
    This canned stew is further flavored with too-snappy comebacks, too-slick repartee and too-clever contrivances. Making it bearable are cast members who do somehow manage to seem like people next door.
    • 51 Metascore
    • 33 Diane Werts
    Narration clunkily tries to fill the narrative void. But it's blandly delivered.
    • 66 Metascore
    • 30 Diane Werts
    Someone must believe the allure of "CSI" lies in its "look" - Cold Case also offers time-tripping flashbacks blending the past incident into present time - along with the behavioral "cool" of its central character. But even when William Petersen plays reserved, his "CSI" cop seems to be seething at his core. That suppressed fire makes him worth watching. Morris is barely an ember.
    • 61 Metascore
    • 30 Diane Werts
    Eli Stone is fated to flounder.
    • 47 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.
    • 38 Metascore
    • 30 Diane Werts
    This show is slickly packaged and unchallengingly trite in its slavish reality-show construction.
    • 53 Metascore
    • 30 Diane Werts
    Despite the storylines' incessant emotional and psychological delvings, the result is an inert if not annoying muddle among unpleasantly profane people whose prospective salvation isn't worth wading toward.
    • 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.
    • 59 Metascore
    • 30 Diane Werts
    A second-rate knockoff of what's not quite a first-rate fabrication itself.
    • 44 Metascore
    • 30 Diane Werts
    ABC must be loco throwing Lopez to the critical wolves like this. [27 Mar 2002, p.B31]
    • Newsday
    • 40 Metascore
    • 30 Diane Werts
    Make a list of sitcom cliche shtick, and you'd find it all here. The eye-bulging hard-trying line sell. The ba-dum-bum punch line rhythm. The motormouth babbling to signify "wackiness." The louder- the-better sense of comedy. Even the family visit where members enter a room precisely a peculiar eight paces apart so each has time for an entrance "joke." [27 Feb 2003, p.B31]
    • Newsday
    • 43 Metascore
    • 30 Diane Werts
    Too many moments feel false, overblown or contrived.
    • tbd Metascore
    • 25 Diane Werts
    All the eyeliner in the world can't make Cleve intriguing.
    • 36 Metascore
    • 25 Diane Werts
    TBS' entry only lacks "Sex and the City's" craft in writing, characterizations, plot, production and wit.
    • 57 Metascore
    • 25 Diane Werts
    Some amusing bits, but for every one of those, there are 10 misfires.
    • 48 Metascore
    • 25 Diane Werts
    What this show isn't: fresh, witty or even well constructed.
    • 37 Metascore
    • 25 Diane Werts
    Not worth sitting through for the scenery when you can switch to Travel Channel.
    • 45 Metascore
    • 25 Diane Werts
    Russian Dolls is so busily edited--is any shot longer than 3 seconds?--that there's no flavor of anything.
    • 46 Metascore
    • 25 Diane Werts
    This feels like "funny" by focus group, one composed of cloistered network executives.

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