For 416 reviews, this critic has graded:
  • 32% higher than the average critic
  • 2% same as the average critic
  • 66% lower than the average critic
On average, this critic grades 9.2 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 55
Highest review score: 100 Orange is the New Black: Season 1
Lowest review score: 0 Made in Jersey: Season 1
Score distribution:
  1. Negative: 77 out of 416
416 tv reviews
    • 56 Metascore
    • 50 Hank Stuever
    It prefers action at points where it could really stand to slow down and build out a slightly more creative story. It's the very definition of a guilty-pleasure series.
    • 55 Metascore
    • 50 Hank Stuever
    Fashion Star's debut lasts 90 minutes but feels as though it's about five hours.
    • 47 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.
    • 38 Metascore
    • 50 Hank Stuever
    It's precisely what the title says: just new iterations of the same spit-up and teething jokes.
    • 67 Metascore
    • 50 Hank Stuever
    That path [Will Ferrell/Jack Black/Zach Galifianakis school of oddballery] is fairly well trod at this point, as is the "New Girl" vibe Ben and Kate reaches for. Some funny lines still manage to peek through.
    • 57 Metascore
    • 50 Hank Stuever
    Only when it has 20 minutes left to live does Killing Lincoln knock it off with the hokey structure and melodrama and let the story itself take charge.
    • 69 Metascore
    • 50 Hank Stuever
    For a while you can sense Hannibal’s noble urge to stick to a long story arc--why does there have to be a new case every episode?--but eventually it gives in to a proven formula.
    • 73 Metascore
    • 50 Hank Stuever
    Snail-paced and difficult to relate to, Parade’s End feels twice as long as its total running time. And yet it’s an exquisite and thoughtful sort of slog, with sound British pedigree and bone structure.
    • 88 Metascore
    • 50 Hank Stuever
    Mad Men is that rare thing that can be as infuriating as it is perfect. I’ve gone back and forth (and hot and cold) on it as much as a critic can; I warmed to it last season but feel a familiar chill this time.
    • 82 Metascore
    • 50 Hank Stuever
    If Rectify was winnowed down to the length of a feature film and shown at a festival, we could better judge whether or not it accomplishes what it set out to do. Delivered this way, as a meandering, weekly TV show (with commercial breaks), it has spread itself too thin.
    • 65 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).
    • 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.
    • 58 Metascore
    • 50 Hank Stuever
    Tveit is kind of an underwhelming Officer Opie here, while Sunjata brings a menacingly ambivalent character to life.
    • 33 Metascore
    • 50 Hank Stuever
    The cast is certainly talented enough to overcome We Are Men's shortcomings, if the writing improves.
    • 58 Metascore
    • 50 Hank Stuever
    Future television and movie historians will know us mainly by our enjoyment of stories about sad sacks who further their own misery by trying to impress those around them. It’s a threadbare shtick, but Merchant... has mastered it.
    • 50 Metascore
    • 50 Hank Stuever
    It’s all good, clean fun that is not quite good, not quite clean and not quite fun.
    • 74 Metascore
    • 50 Hank Stuever
    The pilot episode is stylish and swiftly paced, but that’s all it is, and despite some intriguing plot twists, there’s not a lot of motivation to keep coming back.
    • 63 Metascore
    • 50 Hank Stuever
    Once assembled, Mob City has a slick sheen and a sure trigger finger that unleashes a stream of bullets. But the guns here are the kind that go “ho-hum” instead of “bang-bang.”
    • 50 Metascore
    • 50 Hank Stuever
    Derivative of sci-fi and superhuman dramas we’ve seen plenty of times before, up to and including the slo-mo 'Matrix' bullets flying out of a gun.
    • 64 Metascore
    • 50 Hank Stuever
    It’s all done with a cold efficiency and a gloomy, disinterested tone.
    • 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.'
    • 87 Metascore
    • 50 Hank Stuever
    It fixates on the familiar, sullen murkiness similar to recent procedurals (“The Killing” and “Broadchurch,” for example) and adds several more layers of its own artistic yet unfulfilling murk.
    • 48 Metascore
    • 50 Hank Stuever
    It’s difficult to escape the show’s plasticky veneer and misplaced exuberance.
    • 52 Metascore
    • 50 Hank Stuever
    An ambitious--yet disappointingly stiff--staging of the original musical.
    • 67 Metascore
    • 50 Hank Stuever
    So far, several story lines of small-town secrets and drama have fanned out and fizzled, making it hard to tell if “Bates Motel” wants to be compellingly chilling or just tediously unnerving.
    • 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.
    • 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.
    • 65 Metascore
    • 50 Hank Stuever
    No one can survive Surviving Jack’s hollow and formulaic dialogue, which is bursting with jokes that are half-funny at best.
    • 70 Metascore
    • 50 Hank Stuever
    By the second hour (both of Monday’s episodes adhere to the minute-by-minute chronology; the fast-forwarding will happen later), it’s clear that Live Another Day is not much interested in broadening the show’s scope, feeling or characters. It does, however, have an abiding interest in the latest news about spying, vis-a-vis its own version of notorious document-leaker Edward Snowden: Chloe O’Brian.
    • 71 Metascore
    • 50 Hank Stuever
    It’s rare to see a show get its style so right and its story so backwards.