For 720 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 59
Highest review score: 100 Big Little Lies: Season 1
Lowest review score: 0 Scorpion: Season 1
Score distribution:
720 tv reviews
    • 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.
    • 67 Metascore
    • 70 Hank Stuever
    It’s not nearly as funny as either ["The Office" and "Parks and Recreation"], and it sometimes sacrifices its most promising potential (making fun of true-crime serializations) to pick off easier targets (making fun of the South). ... Lithgow’s effort rubs off on his energetic co-stars, who elevate the material and give it a spark it otherwise wouldn’t have.
    • 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.
    • 77 Metascore
    • 70 Hank Stuever
    Diana, Our Mother is probably all we’ll hear from William and Harry this time around, and, to be entirely honest, it feels like just enough. Just enough of the anguish. Just enough review of her good works (visiting AIDS patients when no one else would, campaigning against land mines). Just enough rumination on her phenomenal wattage.
    • 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.
    • 61 Metascore
    • 70 Hank Stuever
    Despite some stiffness (and a whole lot of words crammed into the characters’ mouths, hastily delivered in an array of accents) Turn succeeds in making the War of Independence seem like a vital and fresh saga.... But the show struggles to lay out its characters and conflicts in a way that feels instantly addictive.
    • 84 Metascore
    • 70 Hank Stuever
    It's often difficult for them to shed the topical baggage they are made to carry and simply be themselves. Still, if you stick with them, you'll see Treme becoming a well-paced work of fiction rather than see Treme spending too much effort speaking truth to an indifferent power.
    • 59 Metascore
    • 67 Hank Stuever
    He may not even know his real identity, which is what makes him so good at taking on imaginary aliases. From there, the show seems a bit predictably structured, but Bean lends a strong and complex presence to the idea.
    • 66 Metascore
    • 67 Hank Stuever
    A solid prime-time soap with a burnt-crisp soul.
    • 49 Metascore
    • 67 Hank Stuever
    Like all shows set in Texas, Killer Women is cooked through with too much yee-haw sauce and a whole lot of urban-cowgirl chic, but Helfer ably carries off the assignment and keeps the momentum going.
    • 76 Metascore
    • 67 Hank Stuever
    Nothing here feels particularly new, except for the compelling way the Duffers have put it all together--and even that can’t fix some plot holes and deliberate obfuscation that make Stranger Things a clumsier ride than it needs to be.
    • 74 Metascore
    • 67 Hank Stuever
    If you haven’t been reading Marvel Comics lately... then the show can feel somewhat exclusionary and, frankly, a little too cornball and cutesy about its own geekiness.
    • 58 Metascore
    • 67 Hank Stuever
    Wolk provides just the sort of casting ingenuity The Crazy Ones needs, especially as a counterbalance to Williams, who, it goes without saying, will motormouth his way through any scene he can. ... But watching [Gellar] play Williams’s dutiful and comedy-challenged daughter is a dreary primer in the pitfalls of big-name casting.
    • 70 Metascore
    • 67 Hank Stuever
    No one will accuse 'Brooklyn Nine-Nine' of too much authenticity, but it does have a confident breeziness in its banter that almost immediately locates a ['Barney Miller']-esque balance in the more absurd aspects of law enforcement.
    • 62 Metascore
    • 67 Hank Stuever
    The earnestness comes in pretty strong doses, but it might be good for what ails you.
    • 64 Metascore
    • 67 Hank Stuever
    Frequency’s concept was mildly intriguing in theaters, and it’s mildly intriguing now, even with an extra layer or two of mushy TV-style goop on top of the story’s basic hokeyness. List and the other cast members give convincing enough performances.
    • 74 Metascore
    • 67 Hank Stuever
    It's an adrenalin-doused premise that is handsomely executed, but it feels like we get to Defcon 2 way too fast.
    • 68 Metascore
    • 67 Hank Stuever
    A large supporting cast helps Vegas appear to be compelling and classy. And then CBS lapses into its old habit, as Lamb and company squander all this intriguing potential trying to solve their first of many cases.
    • 75 Metascore
    • 67 Hank Stuever
    It’s difficult to know whether Fortitude aims to be a “Broadchurch on Ice” or, at its most extreme, a riff on John Carpenter’s “The Thing.” In its favor, the show has an irresistible setting.
    • 75 Metascore
    • 67 Hank Stuever
    Fresh Off the Boat wants to be both “Black-ish” and “The Goldbergs”--and it works fairly okay as a companion piece to either--but it’s a lot better show when it occasionally stops going for just the easy jokes and aims for a subtler, sharper line of comment.
    • 54 Metascore
    • 67 Hank Stuever
    Forever isn’t the freshest new show this fall, but its classiness is appreciated.
    • 55 Metascore
    • 67 Hank Stuever
    Dracula shows a lot of skill when it comes to launching a swift-paced series and weaving together several taut story lines and characters; at times it even finds an undiscovered sweet spot between 'Downton Abbey' and Bela Lugosi. ... Only one crucial piece is missing: Dracula isn’t scary.
    • 38 Metascore
    • 67 Hank Stuever
    There’s a caustic wit to Bad Judge that, with a little help, might still rise above its more shallow laughs.
    • 73 Metascore
    • 67 Hank Stuever
    There is absolutely nothing new about anything seen here and yet Arrow has nice aim.
    • 67 Metascore
    • 67 Hank Stuever
    Loch Ness, fresh off its ITV premiere across the pond, hews strictly to the formula seen in “Broadchurch” and other knockoffs, but this six-episode series meets most of the requirements to keep a viewer hooked.
    • 62 Metascore
    • 67 Hank Stuever
    It’ll take a few more zany diaper changes (you knew there had to be some) before we’ll know if there’s a stronger show here. If not, then Grandfathered is just a more flashy version of “Raising Hope.”
    • 62 Metascore
    • 67 Hank Stuever
    For those many millions of broadcast TV watchers who never saw Broadchurch ... Gracepoint still has plenty of potential to be a real treat; it’s clearly something different from the maxed-capacity morgues of prime time’s many procedural crime dramas. It’s a better quality of murder mystery all around.
    • 53 Metascore
    • 67 Hank Stuever
    It might just do the trick, if its frantic doctors can save the first episode from a deadly case of hammy dialogue.
    • 52 Metascore
    • 67 Hank Stuever
    Creator Moira Walley-Beckett’s eight-episode limited series about the depressing and excessively cruel world of professional ballet has moments that are sublime and engrossing but not always sustainable. Flesh and Bone can also be ham-handed in both narrative and dialogue.
    • 71 Metascore
    • 67 Hank Stuever
    There’s a lack of conviction to Almost Royal’s premise that means the funniest parts are only just mildly funny.
    • 79 Metascore
    • 60 Hank Stuever
    HBO’s mildly funny yet thematically redundant half-hour series.
    • 61 Metascore
    • 60 Hank Stuever
    The humor is smart-ish and has more bite and suggestive raunch than you’d expect.
    • 67 Metascore
    • 60 Hank Stuever
    The Event is an intentional mess, daring you to go wherever it thinks it's going. Within the first five minutes, potential viewers will have to make their own personal choice: Am I up for this?
    • 75 Metascore
    • 60 Hank Stuever
    Though I do not begrudge Ray Donovan its sense of momentum or tension, I was immediately struck by a desire to simply see more of Ray doing his job for a few episodes rather than seeing him deal with his brothers’ various problems.
    • 43 Metascore
    • 60 Hank Stuever
    The Show With Vinny, a contrived hybrid of a reality series and a talk show, is a surprisingly sweet exercise in hospitality and good cheer.
    • 76 Metascore
    • 60 Hank Stuever
    Although no expense has been spared, House of Cards appears to suffer from the same ambitious but weighty seriousness that afflicted Starz's "Boss."
    • 78 Metascore
    • 60 Hank Stuever
    Perhaps Unbreakable Kimmy Schmidt will eventually find a way to be a show worthy of all this talk and expectation, rather than the B-/C+ attempt at a network show that Fey and Carlock have delivered. There’s not much special about it, so far, except the lucky circumstances of its survival.
    • 68 Metascore
    • 60 Hank Stuever
    A sharply-made if slightly off-putting reality series that follows different advertising agencies each week as they compete for new accounts.
    • 75 Metascore
    • 60 Hank Stuever
    It’s hard to believe that Grease was once subversive; what viewers saw on television Sunday night seemed somehow cleaner and more perfunctory and cute. It was a fabulous, well-scrubbed and flawlessly executed show that could have been just a little bit greasier.
    • 74 Metascore
    • 60 Hank Stuever
    An intriguing but often clumsy new movie about the making of the TV show.
    • 74 Metascore
    • 60 Hank Stuever
    The new episodes push the saga in a few initially intriguing directions, but the cast keeps expanding into an overpopulated mishmash of disparate story threads that no longer weave together as a whole.
    • 55 Metascore
    • 60 Hank Stuever
    The result is a gentle, respectful and thorough biography that is 100 minutes of no news and no fresh insights.
    • 55 Metascore
    • 60 Hank Stuever
    1600 Penn comes off as a fairly formulaic yet occasionally bright return to an old premise.
    • 80 Metascore
    • 60 Hank Stuever
    It’s hard to deny that The Leftovers can be both visually and emotionally arresting. It is also hard to deny that it is absolutely no fun to watch, a fact that doesn’t necessarily lead one to abandon it. The addition of a new family in Jarden/Miracle, the Murphys--headed by strong new cast members Kevin Carroll and recent Emmy-winner Regina King--is reason enough to tread lightly and see if Lindelof, et al, have worked out some of the kinks when it comes to pacing and payoff.
    • 59 Metascore
    • 60 Hank Stuever
    Hallmark Channel’s warm but sometimes thin adaptation of The Watsons Go to Birmingham, based on Christopher Paul Curtis’s award-winning children’s book, is at first a welcome departure from the network’s usual Slanket-ready movies.
    • 72 Metascore
    • 60 Hank Stuever
    Under the Dome does have an air of King’s more sinister tendencies, but not enough of them in the first hour to suggest the sort of horror that’s worth sticking around for.
    • 55 Metascore
    • 60 Hank Stuever
    Believe works best as a relentless chase scene. The first episode (directed by Cuarón) has some limberness to its movement, but, like so much else in this particular genre, produces a lukewarm result.
    • 68 Metascore
    • 60 Hank Stuever
    The show gets off to a serviceable start--coolly conceived and professionally directed, at least in the one episode shared with critics. Where it goes from here is anybody’s guess at this point, but Extant’s creator and cast seem to be taking things seriously enough as a work of sci-fi origami, folded and layered with a certain precision.
    • 57 Metascore
    • 60 Hank Stuever
    Allegiance’s real mission, like “The Americans,” is to draw us into a believable family crisis and, in that regard, the show’s results are mixed. Some performances are strong (particularly from Davis and Stenhouse) and the first three episodes demonstrate a knack for getting everyone — viewers included--to hang together off the same cliff right at the 57-minute mark.
    • 82 Metascore
    • 60 Hank Stuever
    Darabont and his cast excel at conjuring up a taut social study, but let the horror scenes fall oddly flat.
    • 70 Metascore
    • 60 Hank Stuever
    [An] ambivalent but mildly engrossing new docu-series.
    • 82 Metascore
    • 60 Hank Stuever
    As creator, writer and director, Hawley does everything he can to suppress the yawns that will surely come from the superhero-disinclined, setting the tone for a show that favors personality over powers, with dialogue that thankfully lacks the sonorous ballast of most superhero movies.
    • 62 Metascore
    • 60 Hank Stuever
    Syfy’s derivative yet intriguing thriller.
    • 62 Metascore
    • 60 Hank Stuever
    There is something to like in Alcatraz's smooth momentum. The show has a spirit that comes through in spite of the flavorless cheese crumbles piled atop it.
    • 61 Metascore
    • 60 Hank Stuever
    It isn't brilliant television, but everyone in it seems to be giving it their all--even the corpses.
    • 80 Metascore
    • 60 Hank Stuever
    House of Cards is almost willfully and sadistically atonal. Its schemes and subplots and internecine politics undulate and intertwine with a suffocating kind of flatness. I find these new episodes watchable yet sterile.
    • 65 Metascore
    • 60 Hank Stuever
    Meant to celebrate innovation and entrepreneurial can-do spirit, Quirky instead eerily reflects the vapidity of the American economy and employment picture, where ideas trump labor and success is measured by top-level paydays instead of actual toil.
    • 77 Metascore
    • 60 Hank Stuever
    Homeland is wearing a bit thin even while it nobly stays the course.
    • 67 Metascore
    • 60 Hank Stuever
    All of these characters and situations are mildly interesting, but it's difficult to know from just a couple of episodes if they're ever going to become desperately interesting.
    • 71 Metascore
    • 60 Hank Stuever
    Coven is the first time American Horror Story gets started with the unmistakable feeling of timecards being punched, as an ensemble of big-name stars dutifully carry forward the show’s trademark fixation on style over substance.
    • 63 Metascore
    • 60 Hank Stuever
    Scouted gives the first impression of merely being a show about models, it turns out to be a watchable session of human sacrifice lite.
    • 80 Metascore
    • 60 Hank Stuever
    It is, as always, beautifully filmed and patiently assembled. Everyone in it clearly believes in the project (and the city) down to their bones, even if the writers have shortchanged their best actors this time. What comes through most is a feeling of over-indulgence--one drink too many, one plate of etouffee too far, one too many hangovers and five too many episodes of an otherwise memorable series.
    • 84 Metascore
    • 60 Hank Stuever
    The first four episodes of this new season have the same raw and gritty-cool feel as the first season's (it takes no time at all for Dunham to bare her now-famously doughy naked body in a sex scene), but the show has become significantly more predictable.
    • 67 Metascore
    • 60 Hank Stuever
    Vice seems to be in search of some sweet spot between “60 Minutes” and “Jackass,” and there’s enough here to suggest that such a spot may exist. The concept could work, especially if Smith and his correspondents were more inclined to point the cameras away from themselves.
    • 56 Metascore
    • 60 Hank Stuever
    Ascension is a handsomely made riff on an irresistibly interesting story pitch.
    • 62 Metascore
    • 60 Hank Stuever
    In its imperfect stab at capturing the ’70s, the show never stops resembling a bad costume party, as if HBO held a fire sale after its extravagantly doomed record-label drama “Vinyl” was canceled and “I’m Dying Up Here” bought up the entire stock. It seems HBO threw in “Vinyl’s” structural and tonal problems free of charge.
    • 74 Metascore
    • 60 Hank Stuever
    For its epic investment, Living in the Material World still feels like only part of the story.
    • 85 Metascore
    • 60 Hank Stuever
    It’s as watchable as ever, and also as unsatisfying as ever, as it veers toward the helter-skelter.
    • 51 Metascore
    • 60 Hank Stuever
    The script can be remedially hokey, but Saldana turns in a feisty and believable performance as a mother fighting for the life of her unholy spawn.
    • 55 Metascore
    • 60 Hank Stuever
    Viewers who stuck with Peter Pan Live! for three hours were treated to a technically adequate, charmingly performed night of retro theater-on-television.
    • 64 Metascore
    • 60 Hank Stuever
    A likable but largely forgettable comedy.
    • 80 Metascore
    • 60 Hank Stuever
    Circus has no difficulty finding all the usual, romantically enthralling ideals contained within circus life, which unfortunately causes a lot of the series to feel predictable.
    • 75 Metascore
    • 60 Hank Stuever
    Luck is suffused with brilliant acting and amazing scenes, but in a few unfortunate ways, it remains impenetrable almost until its last hour.
    • tbd Metascore
    • 60 Hank Stuever
    The show is best when it busies itself with messy bucolic details--the milking of goats, the shearing of llamas, the wallowing of pigs--instead of wallowing in the dysfunctional mud and frantic entrepreneurism that render Josh and Brent blind to the beauty and love around them.
    • 87 Metascore
    • 60 Hank Stuever
    The results are, of course, compelling but also assiduously sterilized.
    • 61 Metascore
    • 60 Hank Stuever
    The show offers an excess of mildly clever yet sincere goofiness. It’s as if someone set out to make a Spamalot for an audience that can’t quite grok Python, would find Into the Woods too morose and maybe missed half the pop-culture references in the Shrek movies.
    • 58 Metascore
    • 60 Hank Stuever
    While Web Therapy is certainly clever and occasionally funny, it lacks both the nerve and verve of "The Comeback."
    • 75 Metascore
    • 60 Hank Stuever
    I'm slightly more taken with Fox's sweeter absurdedy, Raising Hope, though I still mourn the original title: "Keep Hope Alive."
    • 61 Metascore
    • 60 Hank Stuever
    There is something still lugubrious and overwrought about True Detective, but there’s also a mesmerizing style to it--it’s imperfect, but well made.
    • 75 Metascore
    • 60 Hank Stuever
    Having watched the serviceable but flat opening episodes of this new season, I think now is as good a time as any to ask if it’s worth going on with The Walking Dead, when all it does is underline its message of futility over and over and over.
    • 78 Metascore
    • 60 Hank Stuever
    As a drama, The Americans struggles to crack a certain code; the concept is tantalizing, but the follow-through lacks the momentum that gets viewers to commit.
    • 75 Metascore
    • 60 Hank Stuever
    Public Speaking often seems to be trying to relaunch the Fran Lebowitz brand, 25 years past its expiration date. It feels like the kind of movie that old friends would make about an old friend. Which is precisely what it is.
    • 68 Metascore
    • 60 Hank Stuever
    Detailed, but not terribly illuminating.

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