For 370 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 0.4 points lower than other critics. (0-100 point scale)

Diane Werts' Scores

Average review score: 65
Highest review score: 100 Owner's Manual: Season 1
Lowest review score: 0 Big Shots: Season 1
Score distribution:
  1. Negative: 57 out of 370
370 tv reviews
    • 38 Metascore
    • 50 Diane Werts
    So the show seems either a subversive deconstruction of the laugh-track sitcom blueprint or a stupefying misfire built around the blandest star ever.
    • 43 Metascore
    • 50 Diane Werts
    I did catch enough of "Hart of Dixie" to tell it's formula absurdity for the "princess" demographic of magical thinkers who now imagine being lifesaving doctors as well as rescued royals.
    • 48 Metascore
    • 50 Diane Werts
    Pathos may make for a more positive reality TV experience than a parade of lying, backstabbing and physical torture. But the basic appeal remains pathetic. Perhaps in more ways than one.
    • 64 Metascore
    • 50 Diane Werts
    "The Tudors" could actually use a touch of the over-the-top wildness that undermined the substance of HBO's "Rome." If we could blend the two together somehow, we might have a kickily effective history mash-up.
    • 51 Metascore
    • 50 Diane Werts
    Lehman is good, most everything's OK, but nothing is especially fresh or compelling.
    • 45 Metascore
    • 50 Diane Werts
    Though American tastes are mocked here, too, laughing at your own group doesn't necessarily excuse laughing at others.
    • 62 Metascore
    • 50 Diane Werts
    Stamos' half-hour goes on to indulge such other TV trends as black lesbian confidantes, "BuzzFeed listicle" Web checks and the single camera's incessant progression of "witty" repartee jumping to quick-cut "gags" jumping to "awww" sentiment.
    • 43 Metascore
    • 50 Diane Werts
    The stories may hardly be innovative... but their very familiarity becomes comforting.
    • 48 Metascore
    • 50 Diane Werts
    This show lurches along, all its sitcom puzzle pieces laid out without being assembled into even a Hollywood picture of life.
    • 33 Metascore
    • 50 Diane Werts
    Most of Luis so far is underdeveloped and oversold. [19 Sept 2003, p.B48]
    • Newsday
    • 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.
    • 54 Metascore
    • 42 Diane Werts
    Bob's Burgers might be meatier if it gave us some reason to watch these characters. The title isn't the only thing that feels generic.
    • 52 Metascore
    • 42 Diane Werts
    Married, in particular, is one-note with character tone: clueless people acting heedlessly.
    • 41 Metascore
    • 42 Diane Werts
    There's no "here" here.
    • 31 Metascore
    • 42 Diane Werts
    There's no authentic life to Saint George beyond the setup/joke/laugh formula and its witless, gamy punchlines.
    • 42 Metascore
    • 42 Diane Werts
    There might be something smartly contemporary buried deep inside Manhattan Love Story, but the pilot is too busy demonstrating its cognizance of connected devices and social media.
    • 48 Metascore
    • 42 Diane Werts
    The pilot's accumulation of cute - oh, for the straightforward simplicity of bowling alley lawyer "Ed" - feels overbearing long before Kelley's courtroom summation turns societal sermon.
    • Newsday
    • 32 Metascore
    • 42 Diane Werts
    There's cheese (i.e., all Syfy flicks) and then there's cheese--Velveeta vs. Brie. But guess what? Ghost Shark is both! How victims die, which body parts are left and where, the perfectly predictable dialogue and straight-faced performances, even a historical nod to Roanoke--we're just not worthy of this much smartly executed satisfaction.
    • 44 Metascore
    • 42 Diane Werts
    These guys are so bland and their together time so contrived, it's more fun to watch the gears turn on the tired docusoap machine.
    • 64 Metascore
    • 40 Diane Werts
    The first hour manages to feel both mechanical and manipulative, without feeling truly exciting or even grounded anyplace.
    • 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.

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