For 693 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 7.9 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 59
Highest review score: 100 Show Me a Hero
Lowest review score: 0 Man With a Plan: Season 1
Score distribution:
693 tv reviews
    • 70 Metascore
    • 75 Hank Stuever
    Sure, it’s all sort of dumb, but Quantico also doesn’t mess around.... Chopra brings a sincere, centrifugal force to this swirling story line. You leave the first episode wanting to know what happens next and where this conspiracy leads.
    • 56 Metascore
    • 75 Hank Stuever
    What remains is a watchable and weird story (thanks mainly to Lynch, whose gifts for line-delivery verge on the divine) about an intuitive new friend showing up just when she’s most needed.
    • 78 Metascore
    • 75 Hank Stuever
    Though the title lamentably plays into the stereotype that all women are just a breakup away from psychosis, there’s plenty else to like about this exuberant and slightly strange dramedy.
    • 63 Metascore
    • 75 Hank Stuever
    Though I’m not in love with the idea of another sitcom in which a woman fixates on engagement rings and wedding planning, it’s impossible to resist the fluidly written, sharply performed quips and pop-culture references that are effortlessly strewn across Marry Me’s pilot episode.
    • 78 Metascore
    • 75 Hank Stuever
    The point is, once it gets going, The Last Kingdom is a nicely told and suitably adventurous story of revenge.
    • 43 Metascore
    • 75 Hank Stuever
    The Claire Danes/Carrie Mathison comparisons are inevitable (especially when Heigl’s character numbs her grief with casual sex with strangers), but State of Affairs feels like an honest NBC upgrade.
    • 71 Metascore
    • 75 Hank Stuever
    Suburgatory displays a polished sense of humor and a better cast than it deserves, which makes it worth a look.
    • 75 Metascore
    • 70 Hank Stuever
    Downton Abbey doesn’t meet any objective criteria for brilliant television except for one: escapism.
    • 58 Metascore
    • 70 Hank Stuever
    Shades of Blue certainly isn’t shy about hauling out some of the tropiest tropes about cops who find themselves wearing a wire. Still, there’s something compelling and worth watching here--mainly Lopez’s enthusiastic and determined performance. Liotta also has a lot left to give.
    • 77 Metascore
    • 70 Hank Stuever
    The good news about Sonic Highways is that it doesn’t have enough time to bore us to tears.
    • 68 Metascore
    • 70 Hank Stuever
    Trying too hard to play it ultracool, Patriot’s first few episodes are overloaded with distractions and flourishes; the show takes its own sweet (but enjoyable) time to find its stride. And viewers are running low these days on that kind of patience, even if Patriot is worth indulging.
    • 83 Metascore
    • 70 Hank Stuever
    Downton Abbey comes back stronger and more muscular this time, with intriguing and shocking new plots that provide a bit of vital momentum and an uncharacteristically wrenching dose of tragedy.
    • 69 Metascore
    • 70 Hank Stuever
    Not everyone is going to respond to its purposeful languor and subliminal intent. Winslet is at once wonderful and yet enigmatically blank--very much as written in Haynes's and Jon Raymond's screenplay.
    • 72 Metascore
    • 70 Hank Stuever
    What makes Teach: Tony Danza worth watching are the teenagers themselves and the glimpses of other teachers who make the place work. Danza, meanwhile, becomes an irritating, whirling, self-aggrandizing bundle of nerves.
    • 74 Metascore
    • 70 Hank Stuever
    Tiny flaws come close to undermining the success of Game Change as a mere film.
    • 55 Metascore
    • 70 Hank Stuever
    As stupid as it looks, and as much as you can hate yourself for watching, it's a complex show about the nature of sin. There's a tendency to examine it too cerebrally in that regard, to think of Jersey Shore as pure performance art. Sometimes critics can be wrong in typing too many words.
    • 81 Metascore
    • 70 Hank Stuever
    The first half of Vito plays almost like a 45-minute "It Gets Better" ad. [Then] Vito exchanges its subtle storytelling technique for a sobering session of gay rights homework, resembling a recent raft of documentaries about the early years of the AIDS crisis.
    • 64 Metascore
    • 70 Hank Stuever
    A fine if somewhat formulaic lesson in how to pare a very complicated and often technical story down to its emotional essence.
    • 74 Metascore
    • 70 Hank Stuever
    The show feels new again, but that doesn’t mean it feels fully refreshed, nor is it immune to painting itself into the same sort of corners it got stuck in before.
    • 73 Metascore
    • 70 Hank Stuever
    The meandering approach does manage to excavate some fascinating tales and memories.
    • 72 Metascore
    • 70 Hank Stuever
    The better parts of The Strain will unsettle viewers with this new species of monster.... The first couple of episodes seem as if they’ve been assembled from a kit that’s missing a few nuts and bolts; by the third and fourth episodes, however, a viewer gets a much better sense of The Strain’s style and bite.
    • 76 Metascore
    • 70 Hank Stuever
    With its masterfully prescient knack for melding international headlines with implausible tales of espionage, Homeland kicks off with parallel plots involving the Islamic State and a computer-hacking incident.... Carrie’s boss is demanding a high-security humanitarian visit to an ISIS trouble spot, and a viewer realizes that this updated Homeland runs the same as it always has.
    • 65 Metascore
    • 70 Hank Stuever
    Muhammad Ali’s Greatest Fight, which is based on a book by Howard L. Bingham and Max Wallace, is best when it revels in the astonishing whiteness and occasionally ridiculous ways of yesterday’s high court.
    • 60 Metascore
    • 70 Hank Stuever
    A solid yet initially disturbing new drama.
    • 62 Metascore
    • 70 Hank Stuever
    Da Vinci’s Demons breezily and capably finds a balance between amusing wit and dour drama.
    • 59 Metascore
    • 70 Hank Stuever
    A strange and somewhat delightful animated comedy.
    • 69 Metascore
    • 70 Hank Stuever
    There’s not a lot of plot to be had here, and the news that Clear History leaned heavily on the improvisational impulses of its cast might usually ward off the improv-weary. But Clear History has a nice, confident and well-edited breeze to it (including a lot of jokes about the band Chicago), with a fun cast that includes standout riffs from Michael Keaton, Danny McBride and Eva Mendes.
    • 75 Metascore
    • 70 Hank Stuever
    There’s not a lackluster performance among the superb cast members of Bloodline; Chandler and Cardellini, especially, are in top form. Nevertheless, it’s Mendelsohn, as Danny, who makes the best of a script that at times seems overly opaque.
    • 52 Metascore
    • 70 Hank Stuever
    It’s a fast-paced shoot-’em-up/blow-’em-up affair (with the usual ridiculous disregard for actual public safety), but beneath the noise and oozing machismo, it’s not half bad as a deeper emotional story about family and trust.
    • 64 Metascore
    • 70 Hank Stuever
    The result was assured, quick-paced and enjoyably flavored with a few spicy dashes of Brian Williams's dry rub.

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