For 684 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 Game of Thrones: Season 3
Lowest review score: 0 Hart of Dixie: Season 1
Score distribution:
684 tv reviews
    • 69 Metascore
    • 50 Hank Stuever
    For now, The Get Down is an exercise in glorious imperfection; it’s got the beat, but it’s still grasping for the tone.
    • 50 Metascore
    • 50 Hank Stuever
    Owing more to its overambitious breadth of material than any overt political agenda, The Kennedys necessarily compresses, stretches, distorts and otherwise crams itself into a soap opera that is occasionally elegant and even moving near the end.
    • 67 Metascore
    • 50 Hank Stuever
    As you binge along, you’ll notice that things seem to gel nicely around episode 4-ish through 7-ish, as Santa Clarita Diet finds a balance and settles down. Even Barrymore’s struggling performance takes on a certain charm. But that momentum falters as the series searches for a suitable climax.
    • 64 Metascore
    • 50 Hank Stuever
    It's a fine line with Coco. For every funny line he squeezed from his anger Monday night, he missed the point of pathos.
    • 78 Metascore
    • 50 Hank Stuever
    The Good Place, needs some work. ... If there’s a purgatory for mediocre comedies that are built on wobbly premises, then that’s where this should go. A viewer will spend too much time grappling with the show’s intent (what might it be saying about the various ideas and beliefs people have about the afterlife?) and not enough time laughing.
    • 54 Metascore
    • 50 Hank Stuever
    Although Sevigny brings some of her flair for playing stubbornly outré characters to this role, Those Who Kill fails to distinguish itself from “Hannibal,” “The Following” and so much else in TV’s corpse-strewn imagination.
    • 54 Metascore
    • 50 Hank Stuever
    Fashion Star's debut lasts 90 minutes but feels as though it's about five hours.
    • 75 Metascore
    • 50 Hank Stuever
    Frank’s screeds will be familiar to anyone who has caught Burr’s superior stand-up act, but something gets lost when bringing that voice and sensibility over to a scripted, animated format. F Is for Family spends too much time working itself up to a full boil--which arrives only in the last episode-and-a-half.
    • 68 Metascore
    • 50 Hank Stuever
    The show is so tight--maybe too tight--that it starts to choke on its own power-tie premise in the first three episodes.
    • 51 Metascore
    • 50 Hank Stuever
    The exteriors overplay Portland’s constant gloomy rain (it’s the wettest crime show since “The Killing”), but a couple more episodes might offer a ray of hope as the writers start to find ways to turn Backstrom into a person you’d want to spend an hour with each week.
    • 58 Metascore
    • 50 Hank Stuever
    Both shows ["Storage Wars" and Discovery's Gold Rush: Alaska] also have their moments of absorbing drama and distasteful levels of bullheadedness, set against an American backdrop that once again seems mere steps away from the full-on, Cormac McCarthy-style apocalypse.
    • 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.
    • 74 Metascore
    • 50 Hank Stuever
    As lovingly written and organized as it is, the viewer must divide his or her time picking up on different scenarios and moods, caught between rather ho-hum murder cases and this other, more beguiling attempt to craft a show that is about the nature of loss and grief.
    • 66 Metascore
    • 50 Hank Stuever
    Schumer’s sharpness comes through best in such moments, when she’s in stand-up mode and taking significant risks beyond the genre’s still-customary boundary lines of gender.... Meanwhile, her sketches and woman-on-the-street interviews with passersby feel burdened with the task of pleasing a male audience (while enlightening them a scoch).
    • 63 Metascore
    • 50 Hank Stuever
    Detroit 1-8-7 comes across, despite the strong performances, as wan and halfhearted. Dividing each episode into two cases, and labeling them onscreen (as Tuesday night: "Pharmacy Double" and "Bullet Train") may be convenient, but it seems part of an especially unimaginative approach.
    • Washington Post
    • 56 Metascore
    • 50 Hank Stuever
    Dice is mostly a warmed-over attempt to ape Larry David’s “Curb Your Enthusiasm,” with just a dose of the existential despair seen in Louis C.K.’s “Louie.”
    • 50 Metascore
    • 50 Hank Stuever
    The show has a sincerity about its silliness and light spookiness; for a moment there, it’s almost as if 'True Blood' tried to conceive a demon baby with 'Bunheads.'
    • 69 Metascore
    • 50 Hank Stuever
    A ribald but bumpy road-trip comedy that wants to be more than just a slapstick retread of “National Lampoon’s Vacation” (which already got a retread last year in theaters). But after several episodes, the show can’t quite find its way.
    • 55 Metascore
    • 50 Hank Stuever
    The title tells you all you need to know.... The rest is pretty much gumbo from a can.
    • 66 Metascore
    • 50 Hank Stuever
    A conceptually smart but only moderately funny comedy.
    • 59 Metascore
    • 50 Hank Stuever
    Robust but repetitive.
    • 51 Metascore
    • 50 Hank Stuever
    A watered-down and considerably less meaningful iteration of the 2002 Steven Spielberg science-fiction movie
    • 48 Metascore
    • 50 Hank Stuever
    Whatever hopes "Arrested Development" fans may have held for a new Will Arnett series begin to dissipate by Episode 2--even with another "Development" funnyman, David Cross, on board as Emily's annoying eco-terrorist boyfriend. This tiny horsey has no giddyap, but there's still a chuckle or two.
    • 46 Metascore
    • 50 Hank Stuever
    You'll blow a gasket if you watch this show with any trace of superiority or outrage. Instead, bafflement is a good resting spot; a guilty-pleasure glee works even better.
    • 69 Metascore
    • 50 Hank Stuever
    Halt and Catch Fire suffers from a common case of style over substance.
    • 57 Metascore
    • 50 Hank Stuever
    Both shows [Storage Wars and Discovery's "Gold Rush: Alaska"] also have their moments of absorbing drama and distasteful levels of bullheadedness, set against an American backdrop that once again seems mere steps away from the full-on, Cormac McCarthy-style apocalypse.
    • 66 Metascore
    • 50 Hank Stuever
    The first three episodes are all hints and shadows and squandered time, while the show’s most intriguing context and premise--life in a forgotten and neglected tribe--gets lost in all the meandering.
    • 76 Metascore
    • 50 Hank Stuever
    Preacher struggles to depict the challenges of ministry, relying mainly on cliche--which is disappointing, given the show’s title and central idea. Much of the first four episodes are spent untangling a convoluted premise (Preacher is in no apparent hurry to explain its basic mythology or connect some major dots) and offers only the barest glimpse at some essential back­stories that would help viewers follow along.
    • 55 Metascore
    • 50 Hank Stuever
    Produced and directed by Sheila Canavan and Michael Chandler, Compared to What? spends too much of its 1 1/2 hours cementing Frank’s legacy as one of the last lawmakers on the Hill who understood the art of compromise.... The film is too admiring of its subject. Compared to What? is more entertaining (and revealing) in a present tense, capturing Frank as an inveterate schlub septuagenarian.
    • 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.

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