For 531 reviews, this critic has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 8.2 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 57
Highest review score: 100 Nashville (2012): Season 1
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Negative: 90 out of 531
531 tv reviews
    • 61 Metascore
    • 70 Hank Stuever
    Just a dose of the show leads to sweaty palms and heightened anticipation--always a good sign. It's funny how little it takes: Everything about the way Million Dollar Money Drop is built relies on one modern game-show trope after another.
    • 72 Metascore
    • 70 Hank Stuever
    If it’s even partly a put-on, Seduced and Abandoned is nevertheless a fun, larky travel essay and commentary on the film biz, an exquisite wallow in the most rarefied sort of first-world problems.
    • 73 Metascore
    • 70 Hank Stuever
    The show makes an admirable effort at transcending gayness without compromising it. Groff is fine but not fascinating as the naive yet manipulative Patrick, and Alvarez gives Agustin a certain bohemian flair. The real standout--and best-realized character so far--is Bartlett’s Dom. Actually, the more I think about it, the show’s real standout is San Francisco itself.
    • 80 Metascore
    • 70 Hank Stuever
    All of which is to say that even for the most open minds, Game of Thrones can be a big stein of groggy slog. On the plus side, the first six episodes are impressively free of sorcery and special effects, and instead rely on the stuff of any deeply dark HBO epic: corruption, deceit, illicit sex (incest in this case), unflinchingly gory violence, and a willingness to kill off a prominent character or two in the service of plot.
    • 65 Metascore
    • 70 Hank Stuever
    Shows like those lean more toward seriousness and away from the colorfully ridiculous old comic books. Although this often strikes non-fanboys and non-fangirls as woefully atonal, it mostly works here, but it would be nice if No Ordinary Family had more humor about it.
    • 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.
    • 64 Metascore
    • 70 Hank Stuever
    Every detail has been attended to, every format and traditional segue honored; there is absolutely nothing to quibble over with the show's tone and pace. Which is, itself, a quibble.
    • 71 Metascore
    • 70 Hank Stuever
    Tennant is once again terrific at juggling a lot of emotions from one moment to the next. The supporting cast is also sufficiently fine, including a steely performance from Sophie Okonedo.... Plodding on too far, The Escape Artist becomes a revenge story. And yet, for the ineffably eurocentric reasons I was describing earlier, you keep watching and waiting for the surprise.
    • 53 Metascore
    • 70 Hank Stuever
    With an efficient and alternately clumsy and eloquent screenplay by Walon Green, Killing Jesus does not vary much from the Via Dolorosa. As a result, the lavish NatGeo treatment works a lot better than it did on the channel’s adaptations of O’Reilly’s earlier books, “Killing Lincoln” and “Killing Kennedy.”
    • 48 Metascore
    • 70 Hank Stuever
    Mitchell’s coolly understated performance makes it all slightly more believable and worth a few episodes to see where it leads.
    • 61 Metascore
    • 70 Hank Stuever
    Despite some stiffness (and a whole lot of words crammed into the characters’ mouths, hastily delivered in an array of accents) Turn succeeds in making the War of Independence seem like a vital and fresh saga.... But the show struggles to lay out its characters and conflicts in a way that feels instantly addictive.
    • 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.
    • 59 Metascore
    • 67 Hank Stuever
    He may not even know his real identity, which is what makes him so good at taking on imaginary aliases. From there, the show seems a bit predictably structured, but Bean lends a strong and complex presence to the idea.
    • 66 Metascore
    • 67 Hank Stuever
    A solid prime-time soap with a burnt-crisp soul.
    • 49 Metascore
    • 67 Hank Stuever
    Like all shows set in Texas, Killer Women is cooked through with too much yee-haw sauce and a whole lot of urban-cowgirl chic, but Helfer ably carries off the assignment and keeps the momentum going.
    • 74 Metascore
    • 67 Hank Stuever
    If you haven’t been reading Marvel Comics lately... then the show can feel somewhat exclusionary and, frankly, a little too cornball and cutesy about its own geekiness.
    • 58 Metascore
    • 67 Hank Stuever
    Wolk provides just the sort of casting ingenuity The Crazy Ones needs, especially as a counterbalance to Williams, who, it goes without saying, will motormouth his way through any scene he can. ... But watching [Gellar] play Williams’s dutiful and comedy-challenged daughter is a dreary primer in the pitfalls of big-name casting.
    • 70 Metascore
    • 67 Hank Stuever
    No one will accuse 'Brooklyn Nine-Nine' of too much authenticity, but it does have a confident breeziness in its banter that almost immediately locates a ['Barney Miller']-esque balance in the more absurd aspects of law enforcement.
    • 62 Metascore
    • 67 Hank Stuever
    The earnestness comes in pretty strong doses, but it might be good for what ails you.
    • 74 Metascore
    • 67 Hank Stuever
    It's an adrenalin-doused premise that is handsomely executed, but it feels like we get to Defcon 2 way too fast.
    • 68 Metascore
    • 67 Hank Stuever
    A large supporting cast helps Vegas appear to be compelling and classy. And then CBS lapses into its old habit, as Lamb and company squander all this intriguing potential trying to solve their first of many cases.
    • 75 Metascore
    • 67 Hank Stuever
    It’s difficult to know whether Fortitude aims to be a “Broadchurch on Ice” or, at its most extreme, a riff on John Carpenter’s “The Thing.” In its favor, the show has an irresistible setting.
    • 75 Metascore
    • 67 Hank Stuever
    Fresh Off the Boat wants to be both “Black-ish” and “The Goldbergs”--and it works fairly okay as a companion piece to either--but it’s a lot better show when it occasionally stops going for just the easy jokes and aims for a subtler, sharper line of comment.
    • 54 Metascore
    • 67 Hank Stuever
    Forever isn’t the freshest new show this fall, but its classiness is appreciated.
    • 55 Metascore
    • 67 Hank Stuever
    Dracula shows a lot of skill when it comes to launching a swift-paced series and weaving together several taut story lines and characters; at times it even finds an undiscovered sweet spot between 'Downton Abbey' and Bela Lugosi. ... Only one crucial piece is missing: Dracula isn’t scary.
    • 38 Metascore
    • 67 Hank Stuever
    There’s a caustic wit to Bad Judge that, with a little help, might still rise above its more shallow laughs.
    • 73 Metascore
    • 67 Hank Stuever
    There is absolutely nothing new about anything seen here and yet Arrow has nice aim.
    • 62 Metascore
    • 67 Hank Stuever
    For those many millions of broadcast TV watchers who never saw Broadchurch ... Gracepoint still has plenty of potential to be a real treat; it’s clearly something different from the maxed-capacity morgues of prime time’s many procedural crime dramas. It’s a better quality of murder mystery all around.
    • 71 Metascore
    • 67 Hank Stuever
    There’s a lack of conviction to Almost Royal’s premise that means the funniest parts are only just mildly funny.
    • 79 Metascore
    • 60 Hank Stuever
    HBO’s mildly funny yet thematically redundant half-hour series.

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