For 683 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 7.8 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 58
Highest review score: 100 O.J.: Made in America
Lowest review score: 0 Blood & Oil: Season 1
Score distribution:
683 tv reviews
    • 69 Metascore
    • 75 Hank Stuever
    All the tropes are present and accounted for, but they’re beautifully played out.
    • 79 Metascore
    • 75 Hank Stuever
    Driver brings the right energy and sets the overall mood as a mother who won’t take no for an answer when it comes to JJ’s rights; John Ross Bowie, as her husband, Jimmy, offers a nice counterbalance as a casual, laid-back dad.
    • 62 Metascore
    • 75 Hank Stuever
    666 Park Avenue will have a little of what "American Horror Story" is having, obviously, even if its frights aren't nearly as jumpy.
    • tbd Metascore
    • 75 Hank Stuever
    Thanks to a commitment to documentary principles, the show becomes a fascinating study in present-day masculinity and the definitions of celebrity in an all-digital era.
    • 68 Metascore
    • 75 Hank Stuever
    Davis is overqualified for the material, and, yet, like Kerry Washington before her, she brings an added dimension to the part of an intimidating yet vulnerable woman. Meanwhile, through the hammy uses of flash-forwarding, it’s barely any time at all before Annalise’s ambitious students are tasked with covering up their own homicidal tendencies.
    • 42 Metascore
    • 75 Hank Stuever
    The Neighbors means you no harm; it is merely offering buoyant, slightly creepy entertainment for anybody who doesn't take sci-fi or satire too seriously.
    • 55 Metascore
    • 75 Hank Stuever
    The double-episode premiere drags like it has all the time in the world, leaving a viewer time to wonder if he or she has much room left for another show with swords, beheadings and rapey pillagings. But Sutter is skilled at balancing emotion and gore, and it isn’t long before you start to believe in this place and these people.
    • 70 Metascore
    • 75 Hank Stuever
    Sure, it’s all sort of dumb, but Quantico also doesn’t mess around.... Chopra brings a sincere, centrifugal force to this swirling story line. You leave the first episode wanting to know what happens next and where this conspiracy leads.
    • 56 Metascore
    • 75 Hank Stuever
    What remains is a watchable and weird story (thanks mainly to Lynch, whose gifts for line-delivery verge on the divine) about an intuitive new friend showing up just when she’s most needed.
    • 78 Metascore
    • 75 Hank Stuever
    Though the title lamentably plays into the stereotype that all women are just a breakup away from psychosis, there’s plenty else to like about this exuberant and slightly strange dramedy.
    • 63 Metascore
    • 75 Hank Stuever
    Though I’m not in love with the idea of another sitcom in which a woman fixates on engagement rings and wedding planning, it’s impossible to resist the fluidly written, sharply performed quips and pop-culture references that are effortlessly strewn across Marry Me’s pilot episode.
    • 78 Metascore
    • 75 Hank Stuever
    The point is, once it gets going, The Last Kingdom is a nicely told and suitably adventurous story of revenge.
    • 43 Metascore
    • 75 Hank Stuever
    The Claire Danes/Carrie Mathison comparisons are inevitable (especially when Heigl’s character numbs her grief with casual sex with strangers), but State of Affairs feels like an honest NBC upgrade.
    • 71 Metascore
    • 75 Hank Stuever
    Suburgatory displays a polished sense of humor and a better cast than it deserves, which makes it worth a look.
    • 75 Metascore
    • 70 Hank Stuever
    Downton Abbey doesn’t meet any objective criteria for brilliant television except for one: escapism.
    • 58 Metascore
    • 70 Hank Stuever
    Shades of Blue certainly isn’t shy about hauling out some of the tropiest tropes about cops who find themselves wearing a wire. Still, there’s something compelling and worth watching here--mainly Lopez’s enthusiastic and determined performance. Liotta also has a lot left to give.
    • 77 Metascore
    • 70 Hank Stuever
    The good news about Sonic Highways is that it doesn’t have enough time to bore us to tears.
    • 83 Metascore
    • 70 Hank Stuever
    Downton Abbey comes back stronger and more muscular this time, with intriguing and shocking new plots that provide a bit of vital momentum and an uncharacteristically wrenching dose of tragedy.
    • 69 Metascore
    • 70 Hank Stuever
    Not everyone is going to respond to its purposeful languor and subliminal intent. Winslet is at once wonderful and yet enigmatically blank--very much as written in Haynes's and Jon Raymond's screenplay.
    • 72 Metascore
    • 70 Hank Stuever
    What makes Teach: Tony Danza worth watching are the teenagers themselves and the glimpses of other teachers who make the place work. Danza, meanwhile, becomes an irritating, whirling, self-aggrandizing bundle of nerves.
    • 74 Metascore
    • 70 Hank Stuever
    Tiny flaws come close to undermining the success of Game Change as a mere film.
    • 55 Metascore
    • 70 Hank Stuever
    As stupid as it looks, and as much as you can hate yourself for watching, it's a complex show about the nature of sin. There's a tendency to examine it too cerebrally in that regard, to think of Jersey Shore as pure performance art. Sometimes critics can be wrong in typing too many words.
    • 81 Metascore
    • 70 Hank Stuever
    The first half of Vito plays almost like a 45-minute "It Gets Better" ad. [Then] Vito exchanges its subtle storytelling technique for a sobering session of gay rights homework, resembling a recent raft of documentaries about the early years of the AIDS crisis.
    • 74 Metascore
    • 70 Hank Stuever
    The show feels new again, but that doesn’t mean it feels fully refreshed, nor is it immune to painting itself into the same sort of corners it got stuck in before.
    • 73 Metascore
    • 70 Hank Stuever
    The meandering approach does manage to excavate some fascinating tales and memories.
    • 72 Metascore
    • 70 Hank Stuever
    The better parts of The Strain will unsettle viewers with this new species of monster.... The first couple of episodes seem as if they’ve been assembled from a kit that’s missing a few nuts and bolts; by the third and fourth episodes, however, a viewer gets a much better sense of The Strain’s style and bite.
    • 76 Metascore
    • 70 Hank Stuever
    With its masterfully prescient knack for melding international headlines with implausible tales of espionage, Homeland kicks off with parallel plots involving the Islamic State and a computer-hacking incident.... Carrie’s boss is demanding a high-security humanitarian visit to an ISIS trouble spot, and a viewer realizes that this updated Homeland runs the same as it always has.
    • 65 Metascore
    • 70 Hank Stuever
    Muhammad Ali’s Greatest Fight, which is based on a book by Howard L. Bingham and Max Wallace, is best when it revels in the astonishing whiteness and occasionally ridiculous ways of yesterday’s high court.
    • 60 Metascore
    • 70 Hank Stuever
    A solid yet initially disturbing new drama.
    • 62 Metascore
    • 70 Hank Stuever
    Da Vinci’s Demons breezily and capably finds a balance between amusing wit and dour drama.
    • 59 Metascore
    • 70 Hank Stuever
    A strange and somewhat delightful animated comedy.
    • 69 Metascore
    • 70 Hank Stuever
    There’s not a lot of plot to be had here, and the news that Clear History leaned heavily on the improvisational impulses of its cast might usually ward off the improv-weary. But Clear History has a nice, confident and well-edited breeze to it (including a lot of jokes about the band Chicago), with a fun cast that includes standout riffs from Michael Keaton, Danny McBride and Eva Mendes.
    • 75 Metascore
    • 70 Hank Stuever
    There’s not a lackluster performance among the superb cast members of Bloodline; Chandler and Cardellini, especially, are in top form. Nevertheless, it’s Mendelsohn, as Danny, who makes the best of a script that at times seems overly opaque.
    • 52 Metascore
    • 70 Hank Stuever
    It’s a fast-paced shoot-’em-up/blow-’em-up affair (with the usual ridiculous disregard for actual public safety), but beneath the noise and oozing machismo, it’s not half bad as a deeper emotional story about family and trust.
    • 64 Metascore
    • 70 Hank Stuever
    The result was assured, quick-paced and enjoyably flavored with a few spicy dashes of Brian Williams's dry rub.
    • 88 Metascore
    • 70 Hank Stuever
    Sherlock moves swiftly and intelligently but also a little too coldly, like a long commercial for better WiFi..... Cumberbatch’s take on Holmes’s narcissism can come off as skeevishly robotic. If not for Freeman’s deeper, more human work as Watson, the style would soon go sterile.
    • 76 Metascore
    • 70 Hank Stuever
    [The] new episodes are no great shakes, but they do find Futurama humming along.
    • 48 Metascore
    • 70 Hank Stuever
    Within a few episodes and with slightly lowered expectations, it gets a good buzz going.
    • 65 Metascore
    • 70 Hank Stuever
    Goliath has plenty of moments where it verges on predictably prolonged melodrama, but it also has scenes that gracefully elevate the courtroom-suspense genre.
    • 64 Metascore
    • 70 Hank Stuever
    Covert Affairs (could there be any title that sounds more like being stuck at the airport with nothing to read?) at least does us the favor of introducing storylines that transcend the usual case files.
    • 79 Metascore
    • 70 Hank Stuever
    Smash is a case where not bad is plenty good enough.
    • 71 Metascore
    • 70 Hank Stuever
    As documentary subjects, the boys are in many ways impenetrable. Getting them to ignore the camera and just be themselves is next to impossible, but there are revealing, achingly honest moments that make the film worth watching.
    • 72 Metascore
    • 70 Hank Stuever
    It’s better to simply note that The Affair succeeds by becoming a tangled mess--but that mess has considerably less appeal this time. The only way through, of course, depends on Tierney’s unerring performance as Helen.
    • 58 Metascore
    • 70 Hank Stuever
    Pleasant surprise, The Carrie Diaries's premiere episode is a nimble and entertaining trip back to Carrie Bradshaw's high school years.
    • tbd Metascore
    • 70 Hank Stuever
    Derek is an honest and often charming endeavor.
    • 64 Metascore
    • 70 Hank Stuever
    It is stylish, hammy, sexy, dirty, devilish, laughably bad TV, the guiltiest pleasure since the network unveiled "Revenge."
    • 63 Metascore
    • 70 Hank Stuever
    An awkwardly funny and occasionally heartbreaking attempt to peel back the many meanings and layers of friendship.
    • 73 Metascore
    • 70 Hank Stuever
    There’s something instantly likable about Outlander’s commitment to its themes and sensibilities.... Not having read the book, I find the show sort of charming and sufficiently thrilling.
    • 81 Metascore
    • 70 Hank Stuever
    An engaging yet taciturn new miniseries.
    • 73 Metascore
    • 70 Hank Stuever
    Orphan Black has the same plain club soda flavor you get in most cable action dramas now, but I have to say that I’m enjoying some of its fizz.
    • 77 Metascore
    • 70 Hank Stuever
    Ellis, particularly, gives a lead performance that is strong enough to mask some of the script’s problems.
    • 51 Metascore
    • 70 Hank Stuever
    Once they stop jawin', the competitors in Stars Earn Stripes put on quite a show, and that's the only point of reality television.
    • 80 Metascore
    • 70 Hank Stuever
    As Feynman, it takes the workmanlike Hurt a little too long to shuffle through the slate of go-to moods and characters he’s played already, but he eventually lands on a unique and compelling take on the man.
    • 74 Metascore
    • 70 Hank Stuever
    Guest has assembled a worthy and adept ensemble of oddballs. But it remains to be seen if the story itself will catch on.
    • 71 Metascore
    • 70 Hank Stuever
    A slow but steady 10-episode drama from Amazon that begins streaming Friday.
    • 86 Metascore
    • 70 Hank Stuever
    Sing Your Song is broad and complete, but like most biographical documentaries of legendary performers that we've seen of late, it is also hagiographic.
    • 66 Metascore
    • 70 Hank Stuever
    The crime (and the crime solving) can’t hold a candle to the delight of watching Elizabeth and Mr. Darcy drift apart and then back together in a refrain of their story of obstinate love--a task Rhys and Maxwell Martin acquit themselves of quite well.
    • 83 Metascore
    • 70 Hank Stuever
    It’s a 13-episode remake/update lovingly shepherded by Sagan’s widow, Ann Druyan, who worked on the original series, and hosted by astrophysicist Neil deGrasse Tyson, a worthy heir to Sagan’s legacy, even if he doesn’t quite possess Sagan’s natural ability to captivate viewers.
    • 75 Metascore
    • 70 Hank Stuever
    What we get for most of the show’s 90 minutes, is a mostly funny, often charming and occasionally unsettling account of a man whose diet and whereabouts are under his wife Camille’s constant surveillance.
    • 75 Metascore
    • 70 Hank Stuever
    A brisk and pleasingly outrageous hour-long set taped before a crowd of 39 people in a very small Los Angeles venue, she shows off her ability to segue from naif to sharp-tongued devil in a split-second.
    • 71 Metascore
    • 70 Hank Stuever
    A fun but slow-going experiment in end-of-the-world gallows humor.
    • 72 Metascore
    • 70 Hank Stuever
    Except for a dismally protracted story line, there’s more than enough pure Downton-ness to enjoy this time around.
    • 81 Metascore
    • 70 Hank Stuever
    The film, which kicks off HBO's long, annual summer of well-curated documentary offerings on Monday nights, is certainly absorbing. For those only vaguely familiar with the competitive chess circuit (or even the game's 1,500-year history), Bobby Fischer Against the World is both an easy introduction and a thorough recounting of Fischer's improbable rise to superstardom some 40 years ago.
    • 77 Metascore
    • 70 Hank Stuever
    An enjoyable dramatic movie.... [But] Because it’s a film both by and for the devoted, An Adventure in Space and Time tends to too easily revel in its own creation myth, veering quickly into a tidy, Hallmark-like ending.
    • 75 Metascore
    • 70 Hank Stuever
    So much about Marvel’s Daredevil works exactly the way it’s intended, including the pace of the action and the extent and style of the gore. What still doesn’t work--what almost never works where the name Marvel and live-action film/TV meet--is the hammy dialogue, especially when characters express their feelings to one another.
    • tbd Metascore
    • 70 Hank Stuever
    In Knock Knock, It’s Tig Notaro, there’s a sweet, subtle awareness that there are pockets of cool people almost anywhere you go now, and that their doors are always open.
    • 76 Metascore
    • 70 Hank Stuever
    The first episode of Last Week Tonight (and, to be clear, it is only the first episode, with plenty of potential and room for improvement) demonstrated little in the way of innovating or improving on “The Daily Show’s” prevailing concept.
    • 74 Metascore
    • 70 Hank Stuever
    'Klondike' is not going to win awards for its lackluster screenplay and penchant for melodrama, but it does have some of the plucky energy you’d enjoy at one of those faux-saloon dinner theaters, where the gradations between good and bad hardly exist. It comes across almost like a musical without any songs, and before long, you’re swept up in its crisp visuals and steady pace.
    • 91 Metascore
    • 70 Hank Stuever
    Sherlock is too often a petulant know-it-all, which grows tiresome and makes a viewer painfully aware that each episode is 90 minutes long.... Sherlock's redundancies are improved by a couple of longer story arcs.
    • 79 Metascore
    • 70 Hank Stuever
    Orphan Black has apparently just scraped the surface--not only with the overall narrative arc but with the depth of character development in each of the clones that Maslany plays.... [However] It is chewing so voraciously through its story lines--at such a rapid pace--that it often verges on collapse.
    • 67 Metascore
    • 70 Hank Stuever
    Ostensibly an objective inquiry into the tragedy, the film is perhaps better interpreted as a study in the infinite and even seemingly inappropriate ways that people experience profound grief.
    • 72 Metascore
    • 70 Hank Stuever
    Even with the cross-pond cultural differences, young adults who are perennially baffled by their aging boomer parents will feel right at home here.
    • 65 Metascore
    • 70 Hank Stuever
    A plainly told, tenderly acted and well-intentioned two-hour movie.
    • 83 Metascore
    • 70 Hank Stuever
    Mad Men is fading away as beautifully--even indifferently--as one would expect.
    • 77 Metascore
    • 70 Hank Stuever
    Empire’s one and only problem remains the ethical hollowness of its characters--even the “good” ones are prone to cruelty. Co-creators Lee Daniels and Danny Strong and their crew either can’t locate or do not wish to introduce an underlying moral tone to this story. That’s part of what makes it so rich and watchable, but it also leaves viewers used and abused.
    • 66 Metascore
    • 70 Hank Stuever
    The fun here comes without that extra layer of philosophical fanaticism. In that sense, The Strain is an enjoyable (and sufficiently sicko) episodic diversion.
    • 66 Metascore
    • 70 Hank Stuever
    The new series is compelling in its own way, but it will take a while to see how it congeals. Or, more aptly, if it coagulates.
    • 65 Metascore
    • 70 Hank Stuever
    Fallon complies, respectfully and skillfully, with The Tonight Show's apparently inviolable formats (the opening monologue of jokes; the fact that at least part of the show must be conducted from his desk) as a bridge to the more goofy and innovative sketch comedy he prefers. He keeps looking for ways to delight us, surprise us. It can so easily stray into irritation--and the yawning brought on by all the fawning--but you can’t really fault the guy for trying to send people to bed happy.
    • 73 Metascore
    • 70 Hank Stuever
    The show seems markedly improved from its earlier efforts and somehow more confident in its writing and sense of nuance. It's also funnier.
    • 68 Metascore
    • 70 Hank Stuever
    The show misses its mark--but not by much and not in any objectionable way.
    • 66 Metascore
    • 70 Hank Stuever
    Go On moves quite breezily--much like an NBC-flavored take on premium cable dramadies such as "The Big C" and "Enlightened." It's not as good as either of those, but it has the same happy-sad aura, with just a dash of "Community"-like absurdity to keep the speed limit up.
    • 72 Metascore
    • 70 Hank Stuever
    Overall, Late Show seems to be in good hands. If it was too busy, it was a busy-ness from the heart.
    • 63 Metascore
    • 70 Hank Stuever
    Henderson gives a lunky, forgettable performance, coming nowhere near anyone's idea of a stronger, meaner version of J.R. Thanks to the rest of its ensemble, however, the new Dallas gains some traction and kicks up a little dust.
    • 75 Metascore
    • 70 Hank Stuever
    Foster makes for an energetic and engaging lead, never missing a beat; the rest of the cast is equally snappy-snippy, thanks to scripts and story lines that keep everyone prancing along like trained poodles.
    • tbd Metascore
    • 70 Hank Stuever
    This is by no means the first Comedy Central show about a guy comedian in Hollywood engaged in convenient pseudo-sketches about the rain clouds hanging over him. But it’s the first one in a long time that feels like it has something real to say.
    • 66 Metascore
    • 70 Hank Stuever
    It’s a well-meaning, good-humored, hospitable hour of television, reminiscent of the nascent days of cable reality shows in the early 2000s, before everyone figured out that ratings success meant being nasty, famous and selfish.
    • 74 Metascore
    • 70 Hank Stuever
    While it's not perfect, Bunheads is a happy find, a ray of authenticity on a summer TV schedule filled with so much artificial light.
    • 61 Metascore
    • 70 Hank Stuever
    Just a dose of the show leads to sweaty palms and heightened anticipation--always a good sign. It's funny how little it takes: Everything about the way Million Dollar Money Drop is built relies on one modern game-show trope after another.
    • 72 Metascore
    • 70 Hank Stuever
    If it’s even partly a put-on, Seduced and Abandoned is nevertheless a fun, larky travel essay and commentary on the film biz, an exquisite wallow in the most rarefied sort of first-world problems.
    • 73 Metascore
    • 70 Hank Stuever
    The show makes an admirable effort at transcending gayness without compromising it. Groff is fine but not fascinating as the naive yet manipulative Patrick, and Alvarez gives Agustin a certain bohemian flair. The real standout--and best-realized character so far--is Bartlett’s Dom. Actually, the more I think about it, the show’s real standout is San Francisco itself.
    • 68 Metascore
    • 70 Hank Stuever
    It’s good to know there’s something more to Baskets than a creep in greasepaint. The delicious misery here is evenly spread.
    • 80 Metascore
    • 70 Hank Stuever
    All of which is to say that even for the most open minds, Game of Thrones can be a big stein of groggy slog. On the plus side, the first six episodes are impressively free of sorcery and special effects, and instead rely on the stuff of any deeply dark HBO epic: corruption, deceit, illicit sex (incest in this case), unflinchingly gory violence, and a willingness to kill off a prominent character or two in the service of plot.
    • 70 Metascore
    • 70 Hank Stuever
    National Geographic Channel’s sullen but entertaining two-night miniseries Saints & Strangers earnestly underlines our most American principle, telling a warts-and-all story of that hodgepodge of passengers on the rickety English ship known as the Mayflower.
    • 65 Metascore
    • 70 Hank Stuever
    Shows like those lean more toward seriousness and away from the colorfully ridiculous old comic books. Although this often strikes non-fanboys and non-fangirls as woefully atonal, it mostly works here, but it would be nice if No Ordinary Family had more humor about it.
    • 85 Metascore
    • 70 Hank Stuever
    Everything that’s excellent about The Normal Heart--including compelling performances from its stars, Mark Ruffalo and Julia Roberts, with an especially strong turn from "White Collar’s" Matt Bomer--is also merely just fine; very good but not great; a tear-jerker but not a bawler; and probably beyond reproach.
    • 64 Metascore
    • 70 Hank Stuever
    Every detail has been attended to, every format and traditional segue honored; there is absolutely nothing to quibble over with the show's tone and pace. Which is, itself, a quibble.
    • 71 Metascore
    • 70 Hank Stuever
    Tennant is once again terrific at juggling a lot of emotions from one moment to the next. The supporting cast is also sufficiently fine, including a steely performance from Sophie Okonedo.... Plodding on too far, The Escape Artist becomes a revenge story. And yet, for the ineffably eurocentric reasons I was describing earlier, you keep watching and waiting for the surprise.
    • 53 Metascore
    • 70 Hank Stuever
    With an efficient and alternately clumsy and eloquent screenplay by Walon Green, Killing Jesus does not vary much from the Via Dolorosa. As a result, the lavish NatGeo treatment works a lot better than it did on the channel’s adaptations of O’Reilly’s earlier books, “Killing Lincoln” and “Killing Kennedy.”
    • 60 Metascore
    • 70 Hank Stuever
    After a skittery and slightly tedious start, which is heavy on Carter’s need to keep infusing Mulder and Scully’s world with a convoluted master theory, The X-Files settles in and starts to relocate some of its creepy vibe and playfulness.
    • 48 Metascore
    • 70 Hank Stuever
    Mitchell’s coolly understated performance makes it all slightly more believable and worth a few episodes to see where it leads.

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