For 710 reviews, this critic has graded:
  • 38% higher than the average critic
  • 3% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 59
Highest review score: 100 Orange is the New Black: Season 2
Lowest review score: 0 Hart of Dixie: Season 1
Score distribution:
710 tv reviews
    • 43 Metascore
    • 33 Hank Stuever
    A rare and probably untreatable case of a premise that comes off far more creepy than it intends.
    • 64 Metascore
    • 33 Hank Stuever
    It wants to be funny, it wants to be urbane, it wants to be human and it wants to nail every line. Where it fails miserably is in premise and character.
    • 40 Metascore
    • 33 Hank Stuever
    There’s probably an interesting show to be made about this line of work, but Bull quickly lapses into the standard prime-time bull.
    • 52 Metascore
    • 33 Hank Stuever
    It rapidly turns into a prolonged, nearly laughless sketch about domestic life in the Pac-Man era.
    • 52 Metascore
    • 33 Hank Stuever
    Like 'Vampire Diaries' (and so much else), The Originals lacks a sharp wit, preferring the heavy-velvet drapery of self-seriousness and pretend passion.
    • 65 Metascore
    • 33 Hank Stuever
    Blindspot is a textbook TV exercise in the preposterous.
    • 43 Metascore
    • 33 Hank Stuever
    The concept in NBC’s The Player is lamentably simple and might have been better off as a video game.
    • 58 Metascore
    • 33 Hank Stuever
    It’s hard to imagine something more tone deaf to the realities of sickness and suffering, but here, in the wake of “The Fault in Our Stars” and other doses of teen weepies, Red Band Society thrives on the same ballad-drenched idea that 500 mg of platitude and hollow uplift cures all.
    • 36 Metascore
    • 33 Hank Stuever
    It was too much like what you see in an afternoon at Tyson's Corner.
    • 37 Metascore
    • 30 Hank Stuever
    Bombastic music cues and promises of excitement fail to persuade the viewer that Immortalized isn’t just a dead skunk in the middle of February’s road, stinkin’ up to high heaven.
    • 48 Metascore
    • 30 Hank Stuever
    A deplorably dull two-night miniseries.
    • 63 Metascore
    • 30 Hank Stuever
    You don’t have to take Crisis too seriously; it will happily do that for you, spreading its pompous misery evenly among a cast large enough to fill at least three or four mediocre TV shows, if you count all the teenagers.
    • 56 Metascore
    • 30 Hank Stuever
    Magic City suffers from endless predictability and a lack of creative storytelling.
    • 45 Metascore
    • 30 Hank Stuever
    You can see Sagal and his premise coming from many miles away, making precisely the irritating jokes and wry asides you’d expect him to make. The effect--educational or otherwise--rests somewhere in a parched canyon between “Schoolhouse Rock” and a “Daily Show” segment.
    • 66 Metascore
    • 30 Hank Stuever
    This show is so bad, it’s beneath even MTV.
    • 57 Metascore
    • 30 Hank Stuever
    Fact is, shows like this will never stop oozing out of Hollywood's groupthink writing rooms. "Perfect Couples," "Better With You," "Traffic Light" and now Happy Endings--each of them flat and mediocre in their own not-very-special way.
    • 49 Metascore
    • 30 Hank Stuever
    ABC's feverishly dumb new drama Off the Map takes fans of "Grey's Anatomy" and "Private Practice" on an arduous trip to a tiny village in the tropics, "somewhere in South America." It's echh in the time of cholera.
    • 47 Metascore
    • 30 Hank Stuever
    The writing is clunky and often irritating. The acting is all over the place. The expository harangues are limitless.
    • 47 Metascore
    • 30 Hank Stuever
    [A] somewhat violent and tepidly convoluted new thriller.
    • 41 Metascore
    • 30 Hank Stuever
    This is one of those shows with some promise in some of the characters--and even potential chuckles at the better, weirder jokes--but so clearly emits the sad stench of yet another comedy that that’s been cooked too long in a network oven.
    • 45 Metascore
    • 30 Hank Stuever
    Their ostentatiousness is more off-putting than aspirational and, frankly, it feels deliberately exaggerated for the camera's benefit.
    • 67 Metascore
    • 30 Hank Stuever
    Once you strip down the predictable jokes (Will teaching Marcus about “the bro code of silence”; letting Marcus eat forbidden barbecue ribs), you’re left with a banal arrangement of gender and social stereotypes.
    • 56 Metascore
    • 30 Hank Stuever
    Sorkin's writing lapses into self-parody, leaving savvier viewers to marvel at how quickly the show goes awry.
    • 46 Metascore
    • 30 Hank Stuever
    While animation liberates Napoleon and his world from the usual physical restrictions, it somehow lessens the overall appeal of the character and setting.
    • 65 Metascore
    • 30 Hank Stuever
    Bereft of better scripts, the cast goes through the motions, half-hearted and cheerfully dazed.
    • 57 Metascore
    • 30 Hank Stuever
    Whatever was supposed to be funny here very plainly isn’t.
    • 37 Metascore
    • 30 Hank Stuever
    There’s very little here to dissect or think about or, least of all, laugh at.
    • 55 Metascore
    • 30 Hank Stuever
    Instead of moving on, Killing Kennedy is an exercise in standing so stiffly that you’ll wonder if it was produced by Madame Tussauds.
    • 54 Metascore
    • 30 Hank Stuever
    A clumsily written and stultifyingly acted TV drama stocked with tired and terribly broad notions of Muslim culture in a make-believe nation on the brink.
    • 40 Metascore
    • 30 Hank Stuever
    Although Allen Gregory might have worked as a sardonic, sideways blow to the gifted-child culture, it is so thoroughly coated in a single flavor of sourness that it is difficult to view it as anything but pointless and quickly repetitive.
    • 55 Metascore
    • 30 Hank Stuever
    Even as a work of harmless vapidity, G.C.B. has a difficult time enlivening its oversimplified premise.
    • 36 Metascore
    • 30 Hank Stuever
    Collectively, the four men are derived from a hundred other canceled sitcoms about men being men while trying to navigate the single life.
    • 33 Metascore
    • 30 Hank Stuever
    What plagues this version of “Celebrity Apprentice” is the utterly rote fashion with which it is being conducted, missing out on a prime opportunity to reinvent the show, change some of the rules and conventions.
    • 58 Metascore
    • 30 Hank Stuever
    At this stylish intersection of a Lollapalooza concert and last weekend's Renn faire, we will fight to the death for the crown and all that, guided by Campbell's scrawny, underwhelming, indie-rock Arthur and a malevolently intriguing, shaved-head take on Merlin from "FlashForward's" Joseph Fiennes.
    • 71 Metascore
    • 30 Hank Stuever
    The acrimony between the two men [Marc Maron and his father] doesn’t register as funny or entertaining. Louis C.K. has shown us, on “Louie,” what sort of deeper meaning can be mined in such deep contempt, but on Maron it just feels ugly and dull.
    • 48 Metascore
    • 30 Hank Stuever
    Animal Practice is a forgettable show sloppily built from comedy cliches, but it can be fixed by firing most of the cast and rebuilding the show around the monkey.
    • 44 Metascore
    • 30 Hank Stuever
    Archer crosses just about any line you care to draw concerning sex, drugs and violent imagery. But where “Archer” sort of stylishly crosses it, Chozen clumsily trips and falls.
    • 58 Metascore
    • 30 Hank Stuever
    Slapsticky and hollowed-out.
    • 63 Metascore
    • 30 Hank Stuever
    In trying to be about over-the-top characters, it forgets to be about people.
    • 67 Metascore
    • 30 Hank Stuever
    Wilfred would appear to be crafted from a can't-miss, indie-hipster aesthetic, which may be part of the problem: The show is cool to the point of being cold. The bark is all snark. It doesn't work.
    • 52 Metascore
    • 30 Hank Stuever
    I think the story is a shambles and the concept is dumb.
    • 71 Metascore
    • 30 Hank Stuever
    This trope--an actor playing a surlier, fictional version of himself--has been done to death already, and Don't Trust the B---- leans too heavily on the actor's state of celebrity limbo, filling in late-'90s jokes and references where the real laughs ought to be.
    • 76 Metascore
    • 30 Hank Stuever
    A passive-aggressive, implausibly meandering, poorly written and awkwardly acted effort that is mainly about miscommunication, delivering no more wisdom or insight about depression, bullying and suicide than one of those old “ABC Afterschool Specials” people now mock for being so corny.
    • 83 Metascore
    • 30 Hank Stuever
    Behind the Candelabra is one long downward spiral, a gratuitous tale of a man who drowns in his own opulent acts of denial.
    • 48 Metascore
    • 30 Hank Stuever
    The show suffers from a profound lack of momentum and meaning, with plots and subplots that are stiff and predictable.
    • 55 Metascore
    • 30 Hank Stuever
    Rather than interest you in Lizzie Borden’s chapter in the history of American criminal justice, the movie makes it all seem hollow and unworthy of persisting in cultural memory for as long as it has.
    • 45 Metascore
    • 30 Hank Stuever
    Friends With Better Lives isn’t better than that show or any other half-hour comedy that’s come along in the past five years or so.
    • 39 Metascore
    • 30 Hank Stuever
    The longer the cameras stick around, the more irritating (and irritated) Roseanne becomes. Edited with what appears to be a dulled pair of scissors, Roseanne's Nuts unfolds like a random encounter with an unpleasant family.
    • 30 Metascore
    • 25 Hank Stuever
    Ostensibly an anti-bullying effort for the TMZ era, it makes the celebrities look like giant babies.
    • 51 Metascore
    • 25 Hank Stuever
    This painfully flat American version of a British comedy stars Hank Azaria as Alex, a newly-divorced and depressed PR agent who unwisely beds another agent at the firm (Kathryn Hahn as Helen).
    • 69 Metascore
    • 25 Hank Stuever
    Part of the joke is that The Spoils of Babylon was utterly unwatchable, and that’s why the network never showed it; it seems they achieved that goal a little too well.
    • 47 Metascore
    • 25 Hank Stuever
    There's something demeaning about the whole set-up.
    • 39 Metascore
    • 25 Hank Stuever
    Kevin Can Wait kicks off the official first week of the fall TV season and simultaneously takes the biggest possible step backward, looking like a sitcom that belongs in the fall 1997 lineup.
    • 57 Metascore
    • 25 Hank Stuever
    It gets old the minute it starts.
    • 53 Metascore
    • 25 Hank Stuever
    Like too many sitcom-makers these days, creator Brian Gallivan bases this quickly forgettable series on his upbringing as the athletics-averse gay sibling in a Boston household full of loudmouthed sports nuts.
    • 37 Metascore
    • 25 Hank Stuever
    There’s hardly a crack in his veneer or any ironic punch line to his act--we’re just meant to accept him as the coolest man in Miami. As such, he’s just another dull, pretty detective who solves his cases too quickly.
    • 26 Metascore
    • 25 Hank Stuever
    Setting aside the producers’ aspirationally post-racial pitch, Truth Be Told looks and moves very much like another ho-hum sitcom; there are a few laughs here and there, performed by a likable assemblage of actors--but the same could be said about almost any sitcom in any season. Even if you factor in some skin tone and conversational pitfalls, nothing here seems all that groundbreaking.
    • 36 Metascore
    • 25 Hank Stuever
    There's no zing whatsoever left in leftover Patio Man material like that, but the cast members (including Christopher Moynihan and Dan Folger as Will's unlikable fellow man-children) give it whatever energy they can muster.
    • 49 Metascore
    • 20 Hank Stuever
    Happyish has its head stuck so far up its rear end and is so filled with personal rage and rotten people that just a small dose of the show should easily dissuade half its viewers from sticking around. The other half will perhaps sense a melody beneath all the foul-mouthed diatribes and self-absorbed whining.
    • 38 Metascore
    • 20 Hank Stuever
    [Happy Endings] is a dream compared with the creaky overdose of Aleve that comes with The Paul Reiser Show.
    • 54 Metascore
    • 20 Hank Stuever
    I thought "About a Boy" was bad, but then I watched Growing Up Fisher and realized that things can always get worse.
    • 51 Metascore
    • 20 Hank Stuever
    Bad Teacher is a comedy--barely--that reinforces an unfortunate message that teaching is a career wasteland.
    • 49 Metascore
    • 20 Hank Stuever
    Even allowing for the lowbrow standards that can paradoxically turn a Lifetime movie into a delectable piece of trash, this Flowers in the Attic is a remarkably weak effort.
    • 42 Metascore
    • 20 Hank Stuever
    Mistresses is more vaporous than vapid; its meticulously styled sex scenes wind up seeming antiseptically dispassionate and too serious by half.
    • 37 Metascore
    • 20 Hank Stuever
    Pasquale gives the Jason/Ian role his best shot, but he is dragged down by the bad writing and ridiculous transition from good guy to bad guy.
    • 35 Metascore
    • 20 Hank Stuever
    If it sounds a bit thrown together for sitcom's sake, it is.
    • 39 Metascore
    • 20 Hank Stuever
    Just when psychiatrists have decided to strike narcissistic personality disorder from the Diagnostic and Statistical Manual (as reported last week in science journals), the Hasselhoffs make a clear case for reinstating it.
    • 65 Metascore
    • 16 Hank Stuever
    Maria Bello was convinced to star as Det. Jane Timoney, bravely attempting to make up for a so-so script by donning a fedora and laying things on about 10 times too thick.
    • 65 Metascore
    • 16 Hank Stuever
    One of the reasons it’s difficult to keep up is that Berlin Station is boring, as is its central character. As the spy we’re supposed to be rooting for, Armitage might as well be a cardboard cutout.
    • 38 Metascore
    • 16 Hank Stuever
    So far, there’s not much here you don’t see coming from many miles away, and there’s barely enough chemistry between Ware and Townsend to make things bubble.
    • 56 Metascore
    • 16 Hank Stuever
    Based on a book series from the same author who ginned up The Vampire Diaries and drawing upon every market-tested trope the witchy-poo genre has to offer.
    • 62 Metascore
    • 10 Hank Stuever
    Despite its dour atmospherics and some attempts at higher-caliber acting from Kevin Bacon and a large ensemble cast, The Following is a trite, gratuitously violent exercise in still more stylishly imagined American horror stories. It is filled with melodramatic sleuthing that you've seen over and over. Enough is enough, isn't it?
    • 30 Metascore
    • 10 Hank Stuever
    Blood and Oil feels entirely concocted and embarrassingly shabby, resulting in a form of emotional pornography; no one in the family--particularly the hotheaded CJ--is a good enough actor to overcome all the obvious scripting.
    • 44 Metascore
    • 10 Hank Stuever
    Black Box’s biggest flaw is that it has zero intuition for its own (apparently unintentional) acts of camp, attempting to say something meaningful about the stigma of mental illness when everything about the show is pure crackpot.
    • 33 Metascore
    • 10 Hank Stuever
    Even if you have a lasting grudge against all things Palin, there's no payoff here. It's a new low for anyone who makes the mistake of watching.
    • 52 Metascore
    • 10 Hank Stuever
    The real problem with the show--besides its exploitative and sad premise--is how slow it is.
    • 35 Metascore
    • 10 Hank Stuever
    This is a series for people who found "Sex and the City" too quick-witted and "The Wendy Williams Show" too intellectually stimulating.
    • 32 Metascore
    • 10 Hank Stuever
    It reeks so strongly of unintentional parody that it should make almost any Beatles fan wince with embarrassment. It's the perfect example of a bad script basing itself in reality (press clippings, collected lore) and yet still seeming so bizarrely wrong. Even the wigs deserve a laugh track.
    • 35 Metascore
    • 10 Hank Stuever
    The Grumpy Cat TV Christmas movie is here, about a year too late, and it’s as mindlessly soul-sucking as one might expect (hope?) a Grumpy Cat TV Christmas movie to be.
    • 53 Metascore
    • 10 Hank Stuever
    By trying too hard to be dumber than its predecessors, this Sharknado smells strongly of desperation and dead fish.
    • 42 Metascore
    • 10 Hank Stuever
    A stinkbomb sent to critics last summer that is now getting the burnoff it deserves at season’s end.
    • 25 Metascore
    • 10 Hank Stuever
    There’s little reason to waste 85 minutes watching Jason Mann’s The Leisure Class, a tonally troubled and reprehensibly dull movie.
    • 51 Metascore
    • 10 Hank Stuever
    It is mean-spirited, painfully dumb and badly acted.
    • 33 Metascore
    • 10 Hank Stuever
    It's less of a newly conceived comedy and more of a prime-time haunting.
    • 67 Metascore
    • 10 Hank Stuever
    The film lasts an agonizing 41 minutes a demonstrates a lack of tone, which means you’re never quite sure if you’re watching a comedy that intends to be purely absurd (such as “Zoolander”) or comically realistic (such as “Best in Show”). Even the tennis humor is badly served.
    • 36 Metascore
    • 10 Hank Stuever
    The show is so ludicrously dumb that your eyeballs will hurt from rolling so much.
    • 35 Metascore
    • 10 Hank Stuever
    Netflix’s 13-episode revival of the old ABC sitcom “Full House” is less an update than an irony-free pantomime of the past.
    • 57 Metascore
    • 10 Hank Stuever
    Ryan & Tatum has an unsavory viscosity to it, making all this soul-baring seem all too calculated.
    • 31 Metascore
    • 0 Hank Stuever
    The number of penis jokes are but one indication that Saint George is only concerned with making sure that everyone in America has an equal opportunity at making terrible television.
    • 30 Metascore
    • 0 Hank Stuever
    They come off as interchangeable affirmative-action figures who make Farrah and company look like early suffragettes who fought for the jiggle rights we now take for granted.
    • 43 Metascore
    • 0 Hank Stuever
    Hart of Dixie is basically "Northern Exposure" dumbed down to a nanoscopic scale.
    • 36 Metascore
    • 0 Hank Stuever
    Imagine that this particleboard sitcom is in fact part of a lost season of Showtime’s “Episodes,” in which “Matt LeBlanc” (played by LeBlanc, in a nicely meta turn) winds up landing yet another sitcom that exists mainly to employ actors, writers and producers--and thus consciously squanders all the critical goodwill he gained by playing a version of himself on an ironic premium cable comedy.
    • 33 Metascore
    • 0 Hank Stuever
    It’s violent in a dumb, done-before, tediously psychosexual way.
    • 66 Metascore
    • 0 Hank Stuever
    Boy, has she pulled the bangs over everyone's eyes with this atrociously cutesy sitcom.
    • 15 Metascore
    • 0 Hank Stuever
    What’s galling is the utter absence of originality, spirit or even new jokes. ... The poor actors look like they’re serving mandatory sentences for the creators’ crimes of laziness.
    • 19 Metascore
    • 0 Hank Stuever
    The laughs could not be thinner.
    • 42 Metascore
    • 0 Hank Stuever
    It's never good news when you start to watch a new show and can't get past quibbling with the whole concept.
    • 41 Metascore
    • 0 Hank Stuever
    Reba McEntire stars in this unfortunately joyless sitcom about a woman who gave up her own singing career to support her husband's superstardom in country music.
    • 32 Metascore
    • 0 Hank Stuever
    It’s a prime-time drama that leans too heavily on flash and trash without having the common decency to be ironic.
    • 48 Metascore
    • 0 Hank Stuever
    It’s a show about geniuses that gets stupider and stupider until it explodes.

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