For 459 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 8.9 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 56
Highest review score: 100 Game of Thrones: Season 3
Lowest review score: 0 Back in the Game: Season 1
Score distribution:
  1. Negative: 84 out of 459
459 tv reviews
    • 47 Metascore
    • 50 Hank Stuever
    SyFy routinely demonstrates that today’s tricks have gotten too easy, which is why Dominion feels like it is unintentionally telling a separate story of a world in which humanity is held captive by quickie CGI.
    • 67 Metascore
    • 50 Hank Stuever
    Sometimes it’s fun to get utterly lost in a drama like this; sometimes it’s better to turn around and keep driving.
    • 72 Metascore
    • 50 Hank Stuever
    It’s refreshing to see NBC bring out a comedy that values subtlety over slapstick, but the situations and dialogue here are just a little too subtle to draw viewers in.
    • 52 Metascore
    • 50 Hank Stuever
    As Russ, Faxon is a one-note.... but it’s Greer’s performance as Lina (as well as Jenny Slate’s supporting role as Russ’s friend, Jess) that keeps Married alive.
    • 78 Metascore
    • 50 Hank Stuever
    From the writing to the performances to some overly artistic visuals and camera cuts, the first episode could not be more crammed with self-seriousness if it tried.... Some strong performances peek through anyhow, especially from Manhattan’s star, John Benjamin Hickey.
    • 57 Metascore
    • 50 Hank Stuever
    Selfie’s addiction to topical techie satire tends to get in the way of Gillan and Cho’s attempts to convey an unlikely chemistry that might help the show rise above a concept that already feels like yesterday’s clicks.
    • 53 Metascore
    • 50 Hank Stuever
    A sometimes sharp but painfully predictable Constantine premieres Friday night.
    • 69 Metascore
    • 50 Hank Stuever
    Freak Show is certainly telling a weird story, but it’s not all that scary and, worse yet, the characters are already launching into tedious monologues about civil rights for geeks.
    • 45 Metascore
    • 42 Hank Stuever
    An ambitious but ultimately weak attempt to set an ensemble drama inside Hugh Hefner's hallowed, smoke-filled nightclub of early 1960s Chicago.
    • 55 Metascore
    • 42 Hank Stuever
    The show vacillates between hokey and clever as it mines the Brothers Grimm for contemporary analogues.
    • 33 Metascore
    • 42 Hank Stuever
    A new but forgettable TV treatment for an old story, with results that look very "CW."
    • 43 Metascore
    • 42 Hank Stuever
    Nothing about Sean Saves the World is off-putting, but not much about it is welcoming either.
    • 58 Metascore
    • 42 Hank Stuever
    At times Black Sails feels like it wants to be taken seriously as a complicated, premium cable drama (a la “Game of Thrones”). At other times, it feels more like cheesier, more niche material (a la “Spartacus”).
    • 37 Metascore
    • 42 Hank Stuever
    The pilot is woefully lacking the nuance and inventive wit that would help make The Mysteries of Laura more worthy of [Messing's] talents.
    • 42 Metascore
    • 42 Hank Stuever
    All of this occurs against the backdrop of the make-believe New York of the mind and is aimed mainly at simple folk who understand romance only through the broad strokes of gender stereotypes. They’re both adorable enough that you’ll feel just the slightest twinge of remorse as you kick them to the curb.
    • 66 Metascore
    • 42 Hank Stuever
    The cast is adequately charming (if completely cliche), and the show is perky and occasionally sharp, but “A to Z” is also a prime example of the sort of perfectly acceptable yet thoroughly mediocre fall TV show that’s all too easy to ignore.
    • 38 Metascore
    • 42 Hank Stuever
    Although there are a few snarky laughs in the pilot, they can’t compete with the uncomfortable feeling that Mulaney, bless his heart, isn’t ready for prime time.
    • 87 Metascore
    • 40 Hank Stuever
    Try as I might, Mad Men fails to resonate, settle in, tell me something. It can no longer get out of its own way so as to allow its multiple story lines to experience actual forward momentum. (Only the calendar does that.)
    • 61 Metascore
    • 40 Hank Stuever
    Every setback endured by Vince and his entourage (box-office bombs; girl trouble) is smoothed over by the arrival of six-figure paychecks and the bromantic ideal. It's pretty to look at, but stagnant all the same.
    • 53 Metascore
    • 40 Hank Stuever
    The network has brought back Hart and Lawrence, who are both 34 (whoa!), in a sitcom called Melissa & Joey, premiering Tuesday night, which isn't half-bad. You could do worse--say, "Hot in Cleveland."
    • 62 Metascore
    • 40 Hank Stuever
    There's something blandly nutrition-less and sugary about Mike & Molly, CBS's new Hostess Twinkie of a Monday night sitcom.
    • 45 Metascore
    • 40 Hank Stuever
    Every scene in School Pride feels like the seventh or 10th take and too contrived, even by the low standards of reality TV....I will say that School Pride seems less manipulative and showy than its forebears.
    • 56 Metascore
    • 40 Hank Stuever
    The always-appreciable Dana Delany does her level best to lift Body of Proof, a paint-by-numbers morgue drama premiering Tuesday night on ABC, from its stale premise and up to the level of a beautifully-flawed-character study, something more akin to Julianna Margulies's legal procedural, "The Good Wife."
    • 49 Metascore
    • 40 Hank Stuever
    It's still pretty blah and rarely rises above a relative's chatty slide show of vacation pictures.
    • 54 Metascore
    • 40 Hank Stuever
    Even when the pacing and writing and performances seem to line up, some intangible quality fails to quite hit the spot.
    • 70 Metascore
    • 40 Hank Stuever
    Yet another dystopian vision with Steven Spielberg's brand name affixed to it (as executive producer), this time as a cheap-looking but occasionally intriguing sci-fi social study called Falling Skies.
    • 57 Metascore
    • 40 Hank Stuever
    Skins is so determined to relate to hardened kids--without sermon, theme or context--that it accidentally discovers a new frontier in phoniness and filth. Even if I could warp time and watch it as my teenaged self, I'm pretty sure I would have been bored by it back then, too--even with all the sex.
    • 60 Metascore
    • 40 Hank Stuever
    Morgan's first show turned out to be a fawning and completely unnecessary interview with a successful businesswoman named Oprah Winfrey.
    • 56 Metascore
    • 40 Hank Stuever
    There's a bit of banter well-delivered and some artful action, yet Breakout Kings lacks a certain vim and chemistry required for a real breakout series.
    • 58 Metascore
    • 40 Hank Stuever
    Both Restaurant and "Millionaire" stir similar pots of self-pride, entrepreneurship and the psychic reward of sharing one's good fortune. But because the medium is television--reality television--each show collapses under the pressure of showing off its sense of nobility and higher purpose.
    • 51 Metascore
    • 40 Hank Stuever
    Both "Restaurant" and Millionaire stir similar pots of self-pride, entrepreneurship and the psychic reward of sharing one's good fortune. But because the medium is television--reality television--each show collapses under the pressure of showing off its sense of nobility and higher purpose.
    • 66 Metascore
    • 40 Hank Stuever
    In the first four episodes, there isn't anyone or anything to root for, other than history's corrective hand.
    • 54 Metascore
    • 40 Hank Stuever
    Although it is 90 minutes long, it feels much longer, and the truly smart laughs are few.
    • 61 Metascore
    • 40 Hank Stuever
    Teen Wolf bounds so wildly between its main plot points that I began to wonder if my press copy of the show had skipped some scenes or if they'd been assembled out of order.
    • 52 Metascore
    • 40 Hank Stuever
    It is filled with weak attempts at sketch comedy, resulting in a few funny moments here and there, but not enough.
    • 52 Metascore
    • 40 Hank Stuever
    Countdown has transported itself from MSNBC to Current without major incident or much innovation.
    • 48 Metascore
    • 40 Hank Stuever
    Same Name prefers the usual bunk of the genre, smoothing over significant matters of a class chasm that is an everyday reality for all Americans with dreamy ideas of how we're all not really so different from one another.
    • 60 Metascore
    • 40 Hank Stuever
    There's no time for anthropology, psychology or cultural criticism. Whisker Wars, it seems, is no different from those shows about extreme couponers or the woman who eats the stuffing out of sofa cushions.
    • 59 Metascore
    • 40 Hank Stuever
    Though handsomely assembled from the spare parts of a dozen other evil-twin stories that came before it, Ringer quickly downgrades itself to a fairly ho-hum night soap.
    • 64 Metascore
    • 40 Hank Stuever
    Almost everything about Life's Too Short somehow echoes pieces of all of Gervais's previous TV work, which makes this show seem particularly limp.
    • 60 Metascore
    • 40 Hank Stuever
    Whatever triumphant feeling it initially evokes, Weed Wars drags as the lackadaisical attitudes of both the suppliers and the customers begin to grate on a viewer's nerves.
    • 67 Metascore
    • 40 Hank Stuever
    The old clips are still a hoot, but there's a limit to how much compressed air a viewer can take, listening to a bunch of old men talk about how funny their friend was.
    • 46 Metascore
    • 40 Hank Stuever
    Unsupervised doesn't explore emotional story threads. It's mainly a Beavis and Butt-head echo.
    • 75 Metascore
    • 40 Hank Stuever
    I think its jokes are predictable and its '60s-era styling is tired.
    • 65 Metascore
    • 40 Hank Stuever
    Although it has some nice moves and the occasional tense moment, the show's visual allure quickly leads to aggravation.
    • 57 Metascore
    • 40 Hank Stuever
    Comic Book Men's idle chit-chat about comics comes off as remedial and boring.
    • 51 Metascore
    • 40 Hank Stuever
    Despite its meandering soapiness, there are passing moments of enjoyable "Downton"-like momentum wherein a viewer can eventually let go of the Cameron version (and "A Night to Remember" and the many, many documentaries in cable rotation) and simply enjoy the tilt.
    • 68 Metascore
    • 40 Hank Stuever
    A lushly produced but ultimately unthrilling dramatic miniseries version of the story.
    • 54 Metascore
    • 40 Hank Stuever
    Hemingway & Gellhorn is overly enamored with its ridiculous sense of sweep.
    • 44 Metascore
    • 40 Hank Stuever
    Nothing in Anger Management is all bad, but not much of it is better than half-good.
    • 65 Metascore
    • 40 Hank Stuever
    GSN's new game show, The American Bible Challenge, is just as dull as it sounds, like mandatory fun time at Sunday school.
    • 62 Metascore
    • 40 Hank Stuever
    Banshee has the audacity to behave as though its bloody violence, implausible set-up and studied ugliness is somehow vanguard television. In fact, it's just more of the same.
    • 55 Metascore
    • 40 Hank Stuever
    Monday Mornings, TNT’s new hospital drama from David E. Kelley, takes what might have been a fresh angle and overdoses it with the usual sappy storylines and cheap, melodramatic editing style.
    • 60 Metascore
    • 40 Hank Stuever
    The film is a sturdy but ultimately stifled exercise in the most polite methods of interrogation--to which its subject is entirely immovable and not prepared to surrender anything, even a smile.
    • 60 Metascore
    • 40 Hank Stuever
    Phil Spector is a wordy and unappealingly clinical character sketch.
    • 52 Metascore
    • 40 Hank Stuever
    What Pelosi has here is the start of a more meaningful film about second chances and forgiveness, but what she ends up with looks more like a greeting card.
    • 27 Metascore
    • 40 Hank Stuever
    Does Someone Have to Go? provides little in the way of a grand statement or meaningful takeaway.
    • 66 Metascore
    • 40 Hank Stuever
    As revealed by the first four episodes of the second season, even a tweaked Newsroom is a still pretty much a bore.
    • 54 Metascore
    • 40 Hank Stuever
    There’s a chuckle here and a chuckle there, but it’s impossible to escape the feeling that you’ve just been forwarded a stale Internet meme from your dad.
    • 54 Metascore
    • 40 Hank Stuever
    Further criticism would be like taking a Slurpee to task for tasting too sweet. And in spite of my pasty self, there’s something I liked about all the relentless mugging and frugging.
    • 59 Metascore
    • 40 Hank Stuever
    Every creature and person is a threat to Alice and vice versa. Characters like the rabbit and knave are uppity and untrustworthy; they steal and lie. There are no ready-made friendships here like there are in, say, Oz. As soon as you get there, you feel like you’re ready to leave.
    • 76 Metascore
    • 40 Hank Stuever
    It’s a lot less fun now; when watching these new episodes, I found it impossible to complete any sentence along the lines of “I hope [blank] happens to [blank],” not counting my hope that poor Adam (Hannah’s increasingly complex boyfriend, played by Adam Driver, who now provides the show’s only gravitational pull) will come to his senses and flee.
    • 58 Metascore
    • 40 Hank Stuever
    Even people with Romney stickers still clinging to their bumpers will fidget through the stultifying middle chunk of director Greg Whiteley’s sympathetically observant but journalistically incurious Mitt, the product of six years of friendly, unfettered access to Romney and his family.
    • 48 Metascore
    • 40 Hank Stuever
    Despite an honest attempt at a fresh concoction, the results taste watered-down.
    • 49 Metascore
    • 40 Hank Stuever
    The writing is merely serviceable; the acting is uninspired; the scary stuff comes off as silly.
    • 63 Metascore
    • 40 Hank Stuever
    McKellen and Jacobi seem to have a fun time slinging the insults, but before long, the show starts repeating itself, almost as if it’s going senile right before our eyes.
    • 75 Metascore
    • 40 Hank Stuever
    It’s as if someone looked up instructions for making a period cable TV drama and followed them to the letter--and wound up with something like a “Boardwalk Empire”-style story arc set in an old-timey “E.R.,” only with a much weaker pulse.
    • 36 Metascore
    • 33 Hank Stuever
    It was too much like what you see in an afternoon at Tyson's Corner.
    • 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.
    • 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.
    • 52 Metascore
    • 33 Hank Stuever
    It rapidly turns into a prolonged, nearly laughless sketch about domestic life in the Pac-Man era.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 30 Hank Stuever
    A deplorably dull two-night miniseries.
    • 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.
    • 63 Metascore
    • 30 Hank Stuever
    In trying to be about over-the-top characters, it forgets to be about people.
    • 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.
    • 55 Metascore
    • 30 Hank Stuever
    Even as a work of harmless vapidity, G.C.B. has a difficult time enlivening its oversimplified premise.
    • 45 Metascore
    • 30 Hank Stuever
    Their ostentatiousness is more off-putting than aspirational and, frankly, it feels deliberately exaggerated for the camera's benefit.
    • 56 Metascore
    • 30 Hank Stuever
    Magic City suffers from endless predictability and a lack of creative storytelling.
    • 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.
    • 56 Metascore
    • 30 Hank Stuever
    Sorkin's writing lapses into self-parody, leaving savvier viewers to marvel at how quickly the show goes awry.
    • 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.
    • 65 Metascore
    • 30 Hank Stuever
    Bereft of better scripts, the cast goes through the motions, half-hearted and cheerfully dazed.
    • 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.
    • 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.
    • 66 Metascore
    • 30 Hank Stuever
    This show is so bad, it’s beneath even MTV.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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