For 747 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 Nashville (2012): Season 1
Lowest review score: 0 Almost Human: Season 1
Score distribution:
747 tv reviews
    • 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.

Top Trailers