For 413 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 9.5 points lower than other critics. (0-100 point scale)

Hank Stuever's Scores

  • TV
Average review score: 55
Highest review score: 100 Masters of Sex: Season 1
Lowest review score: 0 New Girl: Season 1
Score distribution:
  1. Negative: 77 out of 413
413 tv reviews
    • 71 Metascore
    • 70 Hank Stuever
    As documentary subjects, the boys are in many ways impenetrable. Getting them to ignore the camera and just be themselves is next to impossible, but there are revealing, achingly honest moments that make the film worth watching.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 67 Hank Stuever
    A solid prime-time soap with a burnt-crisp soul.
    • 62 Metascore
    • 67 Hank Stuever
    The earnestness comes in pretty strong doses, but it might be good for what ails you.
    • 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.
    • 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.
    • 73 Metascore
    • 67 Hank Stuever
    There is absolutely nothing new about anything seen here and yet Arrow has nice aim.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 87 Metascore
    • 60 Hank Stuever
    The results are, of course, compelling but also assiduously sterilized.
    • 62 Metascore
    • 60 Hank Stuever
    It isn't brilliant television, but everyone in it seems to be giving it their all--even the corpses.
    • 82 Metascore
    • 60 Hank Stuever
    Darabont and his cast excel at conjuring up a taut social study, but let the horror scenes fall oddly flat.
    • 67 Metascore
    • 60 Hank Stuever
    The Event is an intentional mess, daring you to go wherever it thinks it's going. Within the first five minutes, potential viewers will have to make their own personal choice: Am I up for this?
    • 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."
    • 81 Metascore
    • 60 Hank Stuever
    Circus has no difficulty finding all the usual, romantically enthralling ideals contained within circus life, which unfortunately causes a lot of the series to feel predictable.
    • 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.
    • 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.
    • 74 Metascore
    • 60 Hank Stuever
    The new episodes push the saga in a few initially intriguing directions, but the cast keeps expanding into an overpopulated mishmash of disparate story threads that no longer weave together as a whole.
    • 74 Metascore
    • 60 Hank Stuever
    An intriguing but often clumsy new movie about the making of the TV show.
    • 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
    • 60 Hank Stuever
    While Web Therapy is certainly clever and occasionally funny, it lacks both the nerve and verve of "The Comeback."
    • 65 Metascore
    • 60 Hank Stuever
    Meant to celebrate innovation and entrepreneurial can-do spirit, Quirky instead eerily reflects the vapidity of the American economy and employment picture, where ideas trump labor and success is measured by top-level paydays instead of actual toil.
    • 68 Metascore
    • 60 Hank Stuever
    Detailed, but not terribly illuminating.
    • 75 Metascore
    • 60 Hank Stuever
    For its epic investment, Living in the Material World still feels like only part of the story.