For 507 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 507
507 tv reviews
    • 77 Metascore
    • 80 Hank Stuever
    We have to take the good things about Boardwalk Empire (the acting, the authenticity in its exquisite details and most of the writing) along with the bad (the repetitiveness, the plodding).
    • 77 Metascore
    • 80 Hank Stuever
    Looking feels spot-on and real; it falters only when it occasionally pauses to let one of its characters gaysplain, in dialogue, a subject that it believes a larger audience might not get.
    • 68 Metascore
    • 80 Hank Stuever
    A wonderfully absurd, 10-episode serialized mini-epic about two self-absorbed brothers in suburban Florida whose filmmaking ambitions take a sudden turn into a dark, hilariously violent misadventure.
    • 80 Metascore
    • 80 Hank Stuever
    It's all so real it verges on the mundane, but the show is also strong and necessary medicine for these times.
    • tbd Metascore
    • 80 Hank Stuever
    It winnows down complicated legal arguments and anecdotal cases with compassion and clarity.
    • tbd Metascore
    • 80 Hank Stuever
    Having co-starred in the most ambiguously concluded TV show in history (HBO’s “The Sopranos”), Falco certainly deserves the cleanest ending Jackie can get, and the first eight or nine episodes of this season suggest a satisfying and authentic outcome.
    • 81 Metascore
    • 80 Hank Stuever
    A fresh and even stirring reminiscence.
    • 66 Metascore
    • 80 Hank Stuever
    It’s the ideal summertime distraction.
    • 72 Metascore
    • 80 Hank Stuever
    A charming and intelligent sendup of pop culture’s obsession with the end of everything.
    • 64 Metascore
    • 80 Hank Stuever
    A surprisingly stylish and addictive new counterterrorism series.
    • 64 Metascore
    • 80 Hank Stuever
    The interplay between Arnett and Applegate has an instant crackle to it, especially when they argue about which one of them got the least sleep during Amy's latest tearful night. Just as one's interest in Up All Night's domestic cliches may flag, "SNL" alum and "Bridesmaids" co-star Maya Rudolph is here to lift the show up several notches as Reagan's boss.
    • 66 Metascore
    • 80 Hank Stuever
    Bates Motel turns out to be a worthy reimagining of the Norman Bates story.
    • 67 Metascore
    • 80 Hank Stuever
    Buoyed by scalpel-sharp writing and even keener performances, The Big C (created by comedian and sitcom writer Darlene Hunt) walks a fine line of having it both ways. It's for people who are repelled by the warm-fuzzy, disease-o'-the-week dramas of cable television.
    • 62 Metascore
    • 80 Hank Stuever
    The result is a depressing--if engrossing--rehash of arguments found every day online.
    • 77 Metascore
    • 80 Hank Stuever
    It has a seamless and almost hypnotic quality to its narrative, and it’s easily one of the best debuts this year.
    • 69 Metascore
    • 80 Hank Stuever
    Without feeling like it's leading us on, Rubicon is a tightly woven and urbanely acted tale for people who like to mull.
    • 89 Metascore
    • 80 Hank Stuever
    This new season starts off strong.
    • 62 Metascore
    • 80 Hank Stuever
    Using the audio from the radio episodes and then supplying a sort of 1960s-style Hanna-Barbera wash of cheap animation to more fully illustrate the inanity of their conversations, Gervais has landed on something quite special that can be scorchingly funny.
    • 80 Metascore
    • 80 Hank Stuever
    The show seems somehow sleeker and better paced. Characters may now be people first and archetypes second. This has the subtle but immediate effect of making The Walking Dead less predictable and more frightening.
    • 65 Metascore
    • 80 Hank Stuever
    Political Animals verges right up to the edge of ludicrous with the right combination of salty-sweet and silly-smart.
    • 87 Metascore
    • 80 Hank Stuever
    It’s mainly an intelligent crime drama, and a real step forward for Sundance, which is bringing more original programming to its slate. As slow as it seems to go at first, you’ll be surprised at how quickly you’re addicted.
    • 88 Metascore
    • 80 Hank Stuever
    The first six episodes (which I've watched, dutifully at times) draw you in but sometimes feel overstuffed, overproduced and weirdly gauzy where the series means to be an exercise in crisp, razor-sharp filmmaking.
    • 92 Metascore
    • 80 Hank Stuever
    It is a uniquely rendered creepshow that specializes in meaningful silences, emotional stress and dour moods. In so doing, it takes its place among recent miniseries that artfully elude their genres.
    • 64 Metascore
    • 80 Hank Stuever
    The mind reels with possibility, and even hope, which is why we keep coming back to stories like these.
    • 68 Metascore
    • 80 Hank Stuever
    My own enjoyment of The Killing begins and ends with the gloom so brilliantly conveyed by its pace and performances.
    • 69 Metascore
    • 80 Hank Stuever
    There's a tender and no-nonsense tenor to it, which is a welcome switch from most of reality TV's junky tropes.
    • tbd Metascore
    • 80 Hank Stuever
    Shameless’s balance between humor and despicableness is a lesson in narrative wallowing that “Girls” ought to study.
    • 66 Metascore
    • 80 Hank Stuever
    It’s a live-action comedy that often moves and thinks like a cartoon, to great effect.
    • 68 Metascore
    • 80 Hank Stuever
    People who think the Kennedy cake has been overfrosted surely won't fall for it, even though the film is undeniably moving. No one in the film tells all, certainly not Ethel.
    • 73 Metascore
    • 80 Hank Stuever
    The show is also refreshingly entertaining, even when it relies on familiar cliches of the singing-competition genre.