For 508 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 8.1 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

Average review score: 57
Highest review score: 100 Broadchurch: Season 1
Lowest review score: 0 Saint George: Season 1
Score distribution:
  1. Negative: 87 out of 508
508 tv reviews
    • 75 Metascore
    • 60 Hank Stuever
    I'm slightly more taken with Fox's sweeter absurdedy, Raising Hope, though I still mourn the original title: "Keep Hope Alive."
    • 75 Metascore
    • 60 Hank Stuever
    Having watched the serviceable but flat opening episodes of this new season, I think now is as good a time as any to ask if it’s worth going on with The Walking Dead, when all it does is underline its message of futility over and over and over.
    • 78 Metascore
    • 60 Hank Stuever
    As a drama, The Americans struggles to crack a certain code; the concept is tantalizing, but the follow-through lacks the momentum that gets viewers to commit.
    • 75 Metascore
    • 60 Hank Stuever
    Public Speaking often seems to be trying to relaunch the Fran Lebowitz brand, 25 years past its expiration date. It feels like the kind of movie that old friends would make about an old friend. Which is precisely what it is.
    • 68 Metascore
    • 60 Hank Stuever
    Detailed, but not terribly illuminating.
    • 69 Metascore
    • 60 Hank Stuever
    Timbaland produces the original songs that give Empire its real oomph, while the actors try to figure out what kind of characters they’ve agreed to play.
    • 79 Metascore
    • 60 Hank Stuever
    Though deliberately and even artfully paced, Lights Out also feels protracted. It has difficulty establishing momentum in its first few episodes, even with a smattering of intriguing subplots and story lines, and no one character exerts that intangible ability to make us keep watching.
    • 67 Metascore
    • 60 Hank Stuever
    Too Big to Fail has momentum and a certain wonky remove, but is too epic in scope, as Gould's script struggles to match the breadth of the original journalism while the actors try to convince us that they understand all their lines.
    • 56 Metascore
    • 58 Hank Stuever
    On the whole, Intelligence trafficks in the usual request to suspend your disbelief and then some, but it’s also mildly intriguing--especially in the idea that its macho lead character is also treated as a vulnerable prize who needs to be protected at all costs.
    • 50 Metascore
    • 58 Hank Stuever
    The show suffers from the same banal characteristics of most paint-by-numbers network sitcoms.
    • 64 Metascore
    • 58 Hank Stuever
    Throughout the pilot, you’ll wonder why this couldn’t all be handled in a mediocre two-hour action movie.
    • 53 Metascore
    • 58 Hank Stuever
    Once you get past the utter silliness of the idea, Reign is kind of a kick.
    • 64 Metascore
    • 58 Hank Stuever
    It's more of a character sketch than a fully realized story.
    • 65 Metascore
    • 58 Hank Stuever
    Janney and Faris seem to have fun, even when the material in the pilot episode is a tad too seedy and even off-puttingly icy. If Mom could dial it down a notch, it would find a better balance between bawdy and snide.
    • 38 Metascore
    • 58 Hank Stuever
    The tepid laughs here are already in need of a jolt, as Partners cries out for its Karen.
    • 49 Metascore
    • 58 Hank Stuever
    Everyone here, including "Oz's" Eamonn Walker as the battalion chief, is working from the same medium-grim setting, with medium-grim dialogue, which quickly drags the story and action into the still-smoldering ruins of other fire-and-rescue dramas.
    • 73 Metascore
    • 58 Hank Stuever
    Barry takes off so fast that a viewer hardly gets a chance to know him--or care much about where he’s headed.
    • 78 Metascore
    • 58 Hank Stuever
    Boss works hard to resist the usual "this is how we do things in Chicago" nonsense and dutifully aims for a somewhat "Wire"-esque believability. Yet it can also feel like a burden to watch.
    • tbd Metascore
    • 50 Hank Stuever
    An arty and somewhat entertaining movie with a muddled message.
    • 70 Metascore
    • 50 Hank Stuever
    There's perhaps the coppiest cop show of the century so far, the soppy and self-satirizing CBS melodrama Blue Bloods, about an entire family--"the Reagans" yet!--involved in the crime biz.
    • 52 Metascore
    • 50 Hank Stuever
    As Russ, Faxon is a one-note.... but it’s Greer’s performance as Lina (as well as Jenny Slate’s supporting role as Russ’s friend, Jess) that keeps Married alive.
    • 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
    No one can survive Surviving Jack’s hollow and formulaic dialogue, which is bursting with jokes that are half-funny at best.
    • 68 Metascore
    • 50 Hank Stuever
    It's a handsome study in perfect mediocrity.
    • 79 Metascore
    • 50 Hank Stuever
    With the line between documentary and amusement-park ride now crossed, it's easy for a critic to start noticing Vietnam in HD's other narrative and technical shortcuts with filler and stock footage, splicing in wherever needed the images we have seen before, including those familiar payload-perspective views of bombs being dropped over the hills and villages.
    • 48 Metascore
    • 50 Hank Stuever
    It's D'Elia and the other cast members who rescue the show from a wretched Whitney overload.
    • 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.”
    • 66 Metascore
    • 50 Hank Stuever
    It's a whole lot of techno-hooey, relying on screenwriter-friendly leaps of logic. Emerson turns out to be a one-note actor, but Caviezel is appealing in a particle-board sort of way.
    • 75 Metascore
    • 50 Hank Stuever
    For the most part, Girls is still wickedly written and, for some viewers, the best hate-watch around. Yet it too easily runs on fumes from a hipster era (circa 2012) that is already ossifying.

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