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
    • 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.
    • 88 Metascore
    • 91 Hank Stuever
    [A] funny, highly profane but surprisingly poignant dramedy (originally a stage play) about a sexually compulsive woman in London.
    • 88 Metascore
    • 100 Hank Stuever
    Veep works because it is a compact ensemble comedy, filled with the sort of overheard details and wonk verisimilitude that has a way of making the show seem just real enough, even when it has played coy about whether its lead character is a Democrat or a Republican. In that way, it stands far apart from much of what passes for political comedy these days.
    • 88 Metascore
    • 80 Hank Stuever
    The Flag is precisely the sort of film we should be making and watching at this particular distance from the attacks.
    • 87 Metascore
    • 100 Hank Stuever
    Catastrophe is here and gone in six episodes, but it leaves you spent, satisfied and pleasantly skeeved out, the way the best modern comedy shows do.
    • 87 Metascore
    • 80 Hank Stuever
    It’s mainly an intelligent crime drama, and a real step forward for Sundance, which is bringing more original programming to its slate. As slow as it seems to go at first, you’ll be surprised at how quickly you’re addicted.
    • 87 Metascore
    • 90 Hank Stuever
    Watching UnReal so ably slice up and serve all this topical relevance can be exhilarating--and also exhausting. Season 2 affirms that the series is not merely a fine and nasty piece of entertainment.
    • 87 Metascore
    • 90 Hank Stuever
    As television, Girls is disturbing, sharply honed and even wickedly funny.
    • 86 Metascore
    • 90 Hank Stuever
    What at first seemed like another excuse to make fun of nerds and techie office culture instead revealed itself to be a near-perfect example of social satire.... Suzanne Cryer joins the cast as Laurie Bream, a robotically unemotional VC fund manager who steps into the void Peter Gregory left behind. She’s funny, but the show invests more energy and time in adding yet another brash boy-billionaire narcissist (Chris Diamantopoulos).
    • 86 Metascore
    • 100 Hank Stuever
    It doesn’t matter if you know precisely where this story leads (whose head goes to which chopping block), Wolf Hall is about as compellingly and meticulously crafted as television gets.
    • 86 Metascore
    • 90 Hank Stuever
    Absorbing and deeply inspiring.... The film ably transitions to and from its parallel stories of uplift and defeat.
    • 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.
    • 86 Metascore
    • 100 Hank Stuever
    The characters get better and more complex, the story builds, strange things start to happen and now I can’t wait to see how its interweaving plots unfold.... It’s rare that a show can intuit what the viewer wants and deliver it, but that’s precisely what happened.
    • 85 Metascore
    • 90 Hank Stuever
    By the third episode, Fargo confidently stretches in a direction that is uniquely satisfying.
    • 85 Metascore
    • 90 Hank Stuever
    The first four episodes of this new season are among the series’ best.... Network trauma dramas come and go--and with them a lot of serious doctors and nurses and miserable patients--but rarely do we see a show that understands life in a hospital as well as Getting On did.
    • 85 Metascore
    • 100 Hank Stuever
    It’s brilliant. HBO’s Show Me a Hero is a subtle and deeply effective melding of art and conscience; from its writing and narrative pace to its outstanding performances (particularly that of its star, Oscar Isaac) the miniseries locates a seldom-found sweet spot between storytelling and moralism.
    • 85 Metascore
    • 100 Hank Stuever
    Nashville never strays too far from its real story--the ups and downs of glitzy stardom, with Britton and Panettiere performing their own vocals.
    • 85 Metascore
    • 80 Hank Stuever
    More deeply and uniquely, Lady Dynamite delivers a knowing, if satirical, glimpse of bipolar disorder--sort of like the Carrie Fisher story with a whole lot more Kimmy Schmidt thrown in.
    • 85 Metascore
    • 80 Hank Stuever
    While Bright Lights bounces between past and present, Bloom and Stevens wisely allow the narrative to wander where it wants, mirroring the daily lives of their subjects. Where Reynolds is a study in keeping it together, Fisher gives lessons in letting it all hang out.
    • 85 Metascore
    • 90 Hank Stuever
    Though its central mystery may feel old hat to aficionados of the genre, The Missing seems to have a deep respect for its audience. Its red herrings are few and its emphasis on people and their feelings help elevate the series to another level.
    • 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.
    • 85 Metascore
    • 83 Hank Stuever
    The pilot (the only episode made available to critics at press time) has some difficult scenes, including an act of marital rape (or something like it), yet the acting is strong and the story is compulsively intriguing. The first thing you want from The Affair is to see where it leads.
    • 85 Metascore
    • 80 Hank Stuever
    All the reasons viewers first loved Getting On are here again.
    • 85 Metascore
    • 90 Hank Stuever
    There’s something almost revolutionary about the complex and utterly human teenagers that Ridley has conceived here and that his young actors bring to life. This season will get right under the skin of parents who worry too much (or not enough) about their kids.
    • 84 Metascore
    • 90 Hank Stuever
    Hauntingly effective.... Going Clear’s only small problem is how much of Wright’s book it tries to cram into two hours.
    • 84 Metascore
    • 80 Hank Stuever
    I trust completely the template laid out for The Killing by the original "Forbrydelsen" (which I've not seen) and the artistic instincts evident in the first three episodes.
    • 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.
    • 84 Metascore
    • 90 Hank Stuever
    American Crime is an intentionally exasperating viewing experience; sooner or later, every character does something that’s just flat-out wrong. And yet I can’t remember the last time a network drama had my rapt attention and respect on this many levels at once.
    • 84 Metascore
    • 80 Hank Stuever
    Sons of Anarchy may be wild fantasy and melodrama, but it is tempered by a feeling of verity.
    • 84 Metascore
    • 91 Hank Stuever
    Insecure is simple, funny and authentic.

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