For 799 reviews, this critic has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 65
Highest review score: 100 Lemony Snicket's A Series of Unfortunate Events (2017): Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 799
799 tv reviews
    • 98 Metascore
    • 100 Robert Lloyd
    It integrates the boredom, self-delusion, dashed hopes and struggle for power into something bigger, and potentially better, and functions not only as a continuation of the story but a convincing conclusion.
    • 96 Metascore
    • 100 Robert Lloyd
    Given the extravagances of the plot and the characters, that it feels plausibly seated in the real world is a testament to everyone involved in its production. But it is especially due to the actors.
    • 96 Metascore
    • 90 Robert Lloyd
    Whatever feels discordant is eventually lost in the grace of the performances, the elegance of the production and the liberally distributed suspense.
    • 96 Metascore
    • 90 Robert Lloyd
    Because absolutely everything here is beautiful to behold and the wild lands pictured seem so vast and untrammeled, the overall impression Planet Earth II leaves is that things might be more or less fine.
    • 95 Metascore
    • 100 Robert Lloyd
    It's a splendid piece of cinema-verite storytelling, fascinating, thought-provoking and dramatically clear, and no less popcorn-compelling for being leisurely and long.
    • 94 Metascore
    • 100 Robert Lloyd
    Everything glows. One hopes for a happy ending, of course, but what matters most is shape and color, the abstraction of rain on stone, the sun through the trees. It makes Samurai Jack endlessly rewatchable: Every picture tells a story.
    • 93 Metascore
    • 100 Robert Lloyd
    As did the six previous episodes, the new installments generate a tension so awful, from circumstances so awfully lifelike, that you have to watch at times from behind laced fingers, with teeth clenched and the remote control close at hand.
    • 93 Metascore
    • 100 Robert Lloyd
    Each [episode] stands on its own as a TV art film, an independent work of short fiction.
    • 92 Metascore
    • 80 Robert Lloyd
    A studiously handsome, generally impressive 10-part series.
    • 92 Metascore
    • 100 Robert Lloyd
    To my mind, it's the best series of the fall, and with the tonally similar "Top of the Lake," possibly of the year.
    • 91 Metascore
    • 90 Robert Lloyd
    The performances are so wonderful it feels wrong to single any out. But Whishaw finds great power in stillness; Hiddleston fits himself admirably to his character's stages and turns of mind, resolving his coldness with his warmth, his cruelty with his generosity. And there is Beale's Falstaff--marvelously poignant, a scoundrel-hero, getting everything wrong. His sorrow at losing the transformed Hal is as tragic a moment as any here, his fall no less thunderous than Richard's.
    • 91 Metascore
    • 90 Robert Lloyd
    It's a funny show, fundamentally, but not always, by intention. Not everything works, or works equally well; like Louie, Louis is only human.... Louie is a thought process made flesh.
    • 91 Metascore
    • 80 Robert Lloyd
    [Master of None] is smart, sweet and funny in ways both familiar and fresh.
    • 91 Metascore
    • 80 Robert Lloyd
    The artfully composed images are both crystal clear and cinematically creamy.
    • 90 Metascore
    • 90 Robert Lloyd
    Atlanta is subtle and human, a beautifully played comedy of place and character.
    • 90 Metascore
    • 80 Robert Lloyd
    [Scott Alexander and Larry Karaszewski] and their fellow writers do a good job getting the information out, (mostly) without making the dialogue too obviously expository; it happens at times, but it almost can't be helped. As producer and sometimes director, Murphy keeps the production pretty level-headed-- not documentary naturalism, exactly, but close enough for respect.
    • 89 Metascore
    • 80 Robert Lloyd
    It's not quite perfection. Nearly everything to do with the character of Piper's fiancé, Larry (Jason Biggs), somewhat based on Kerman's now-husband Larry Bloom, seems problematic to me. Similarly, in emphasizing the humanity of the inmates, their warders have been made to look, for the most part, pathetic, foolish or monstrous. That is remedied in part this season by a deeper look at the staff, even as some of the more difficult prisoners, like Uzo Aduba's Crazy Eyes, are brought into better focus.
    • 89 Metascore
    • 70 Robert Lloyd
    Breaking Bad is as good as a show on this subject could possibly get, but the subject has its drawbacks. I like it, I admire it, but I can't say I enjoy it.
    • 89 Metascore
    • 90 Robert Lloyd
    This is a beautifully constructed space for a viewer to occupy for a while, while the story plays out--it's a place to go, though, title aside, that place is not necessarily, or ever, Fargo, N.D.
    • 89 Metascore
    • 90 Robert Lloyd
    For all its willful outrageousness, Arrested Development is sort of gripping -- a continuing story that one actually wants to see continue, which is more than can be said of most of the new dramas the season produced. [31 Oct 2003, p.E1]
    • Los Angeles Times
    • 89 Metascore
    • 80 Robert Lloyd
    There is a current of delight that runs through the show different from other reality contestants, where the grown-ups may feel they have their lives on the line; there is disappointment here, but little bitterness.
    • 89 Metascore
    • 80 Robert Lloyd
    It works because it's less about who we were then--it's a fantasy of who we were then, really--than about who we are now.
    • 79 Metascore
    • 70 Robert Lloyd
    The show is exceptionally well made from top to bottom and pulls you in and pulls you along, owing not least to a host of terrific performances.
    • 88 Metascore
    • 80 Robert Lloyd
    It's not the greatest thing since sliced bread but rather a well-made sort of sliced bread, a thing you have had before but prepared with quality ingredients by bakers who know their business.
    • 88 Metascore
    • 80 Robert Lloyd
    If Burns' customary elegiac pace doesn't always work for his subjects--it is the opposite of everything we're told about Theodore Roosevelt, at least--he gives you time to really look at what he's brought to show you.
    • 88 Metascore
    • 80 Robert Lloyd
    The alien Doctor is something of a Sherlock Holmes, and Sherlock Holmes is something of an alien. This is played often for laughs, in the series' funniest, and goofiest, year yet.
    • 88 Metascore
    • 80 Robert Lloyd
    "Curb" is a comedy of hostility, resentment, paranoia and obsessiveness. There are no feel-good moments, no life-brightening epiphanies, nothing, in fact, even vaguely resembling a resolution; things get as bad as you feared, and then the credits roll. [3 Jan 2004]
    • Los Angeles Times
    • 88 Metascore
    • 80 Robert Lloyd
    There is little in the way of "action"--it is possibly the slowest, most deliberative show on television, which is one of the things that makes it so lovely and mysterious.
    • 87 Metascore
    • 80 Robert Lloyd
    There are no heroes or villains here, only people working out or being carried toward their individual destinies. And in who we root for and in what we root for them to choose, we also define ourselves.
    • 87 Metascore
    • 90 Robert Lloyd
    By rooting Top of the Lake in the real, Campion gives her more fanciful inspirations legs, and the mystery--which is, needless to say, not merely or even mostly the mystery of a missing girl--room to breathe. I have no idea where any of it's headed. But I am going along.
    • 87 Metascore
    • 80 Robert Lloyd
    The beauty of these shows is their informality or, in any case, the impression of informality they give. Good comedy always seems to come from the moment, when you can't tell the old material from the improvised. ... The hosts are smart, sweet and centered enough that they can handle the lowest topics in a way that feels innocent and refreshing.
    • 87 Metascore
    • 80 Robert Lloyd
    It's a work whose immense vitality and a persuasive naturalism overcome its occasional paroxysms of style or hammered-home points.
    • 87 Metascore
    • 100 Robert Lloyd
    True Detective runs slow and steady without ever seeming to drag. Even minor characters get room to breathe, and seem independently alive; the briefest scenes seem to imply life beyond the frame.... The dance [Matthew McConaughey and Woody Harrelson] do together here is work of a very high order, and all the reason you need to watch.
    • 86 Metascore
    • 80 Robert Lloyd
    I'll say now, before I get down to picking its nits--it has a few, and most might be predicted from the Spielberg oeuvre--that it's a splendid production, absolutely worth watching in its 10-hour entirety.
    • 86 Metascore
    • 80 Robert Lloyd
    Wolf Hall is both stately and fast-moving, exceedingly still yet highly suspenseful.... Though the series comes to a natural stopping place, it also feels, at the finish, incomplete.
    • 86 Metascore
    • 70 Robert Lloyd
    When it comes to the day's central oration, Akomfrah can't quite leave King alone, laying in music below him--not the usual sentimental suet, at least, but a distraction and a distortion nonetheless; those words need no accompaniment. And here and there he processes an image for dramatic (and sometimes confusing) effect. But these are bumps in an otherwise well-laid road.
    • 86 Metascore
    • 80 Robert Lloyd
    It is all very beautiful.
    • 86 Metascore
    • 80 Robert Lloyd
    Without making any extraordinary claims for it, it is easy to watch and to recommend, mostly sweet-natured, with a host of well-shaded performances and almost nothing to insult your intelligence.
    • 85 Metascore
    • 80 Robert Lloyd
    It is cinematic in the sense that nothing in it looks quite real. But it works: This is not the London known as jolly and old, but the new chilly city of glass, a place of missed connections, of aliens and alienation. And the smart dialogue and warm performances--even Holmes has a discernible beating heart, or perhaps two--keep ice from forming on the production.
    • 85 Metascore
    • 100 Robert Lloyd
    It's like a procedural drama, about the drama of procedure--it isn't ever dry. There are some superbly mounted, loud, crowded big scenes--Simon is a great orchestrator of chaos --but there is an intensity to the quieter, more private moments as well. I wouldn't trade it for a bushel barrel of tortured detectives or all the kings and queens in Westeros.
    • 85 Metascore
    • 80 Robert Lloyd
    A continually surprising thriller that maintains an air of imminent danger through its five or so hours (in six episodes), State of Play is a grander, more romantic creation [than Prime Suspect 6].
    • 85 Metascore
    • 100 Robert Lloyd
    It is cheerful, dark, surreal, profane, aspirational, meta-fictional and packed with people playing versions of themselves or other people entirely (or playing versions of themselves playing other people entirely); it plays with visual and verbal puns, with moods and acting styles and moves around in time and dimension. And while these are elements of many modern comedies--it owes something to "It's Garry Shandling's Show," "Curb Your Enthusiasm," "30 Rock," "The Sarah Silverman Program," Hurwitz's "Arrested Development" and the cracked spirit of Adult Swim--I have never seen them assembled in quite this way, or with quite so much gusto.
    • 85 Metascore
    • 80 Robert Lloyd
    The series' inextricable mix of the personal and the political makes for the best of both worlds in the end, because Simien is sweet with his characters, who are, finally, sweet with one another. Principles matter here, but people matter more.
    • 85 Metascore
    • 90 Robert Lloyd
    It is big, beautiful, beautifully acted and romantic, its passions expressed with that particular British reserve that serves only to make them burn brighter.
    • 85 Metascore
    • 80 Robert Lloyd
    You will find things still generally a mess come Sunday, but now there is at least the possibility of light.
    • 84 Metascore
    • 80 Robert Lloyd
    More troubling, and the bulk of his case, is the testimony of former Scientologists, some of them high-ranked, some of them claiming inside knowledge. Defenders of the faith will say that they are lying now when they say they were lying then, but they seem quite credible and composed to me--amazed at the people they'd been, astonished by what they couldn't see, ashamed at their actions or inaction.
    • 84 Metascore
    • 80 Robert Lloyd
    It’s a professionalized version of Rae's homely original that maintains her voice while sharpening everything that surrounds and supports it.
    • 84 Metascore
    • 80 Robert Lloyd
    The Trade is a reminder that the people who are caught up in this world are only human; it encourages empathy. Much of what is most affecting in The Trade are the small human details--a Christmas tree in a drug dealer's house, the childhood pictures on a refrigerator door of a son or daughter lost to dope, a police detective rubbing the neck of a frustrated partner. The film is in letter-boxed widescreen for maximum cinematic effect--the photography is handsome without making things too pretty.
    • 84 Metascore
    • 80 Robert Lloyd
    Despite its equivocal title, Almost the Truth beats any Python documentary yet made for comprehensiveness and depth.
    • 84 Metascore
    • 80 Robert Lloyd
    Silicon Valley is a comedy, certainly, and a very funny one, but it doesn't spend all its time reminding you of the fact.
    • 84 Metascore
    • 80 Robert Lloyd
    [Director and co-writer Dominic Cooke] does a good job of supporting the story, working in an economical epic style--shooting in fields and forests and big medieval spaces, but with the crowds and pageantry dialed down--that keeps the action human and underscores the idea that this stretch of history boiled down to a family feud.
    • 83 Metascore
    • 80 Robert Lloyd
    What the filmmakers show is all worth a look, and maybe a second one. (Residents get a say too; note the inevitable, but never unwelcome, black barber shop scene.) It opens you up to different, conflicting points of view--or at least reminds you that they exist--which is just what you want from such a series.
    • 83 Metascore
    • 80 Robert Lloyd
    It is an homage and a celebration, with something of a high-class homemade feel.
    • 83 Metascore
    • 80 Robert Lloyd
    This year, by contrast [to last year], the drama flows more naturally; it cuts closer to home, and nearer the bone, allowing Smith and McGovern, particularly, deeper material than has previously been their portion
    • Los Angeles Times
    • 83 Metascore
    • 80 Robert Lloyd
    The dialogue has some of the snap of Alfred Hitchcock, both main and minor characters (again as in Hitchcock) are well-played and vivid.
    • 83 Metascore
    • 80 Robert Lloyd
    National Treasure can feel moody to a fault, and there are times, as in the climactic courtroom scenes, when the drama gets a little... dramatic. (Attorneys who should object keep mum for the sake of the monologue.) But it also does capture an awful sense of isolation in close quarters, the sadness of lives that never quite align. And there’s plenty to chew on from beginning to the end.
    • 83 Metascore
    • 80 Robert Lloyd
    Highly addictive, strangely thrilling little series. (Eight episodes are too few; may I have some more?) Fun's fun, but Judge does not forget the considerable art that makes these performers worth discussing in the first place.
    • 83 Metascore
    • 80 Robert Lloyd
    Crafted to satisfy those generations of viewers for whom even "The Empire Strikes Back" looks quaint and old-fashioned, it is no less thought-provoking for being made to be fun.
    • 80 Metascore
    • 70 Robert Lloyd
    Generation Kill tends to play as a series of discrete events. I suppose an argument might be made that this mirrors the way that the constant threat of extinction, and subject always to a sudden change in (rarely explained) orders, makes one live in the moment. I don't think that was what the producers intended, but it works well enough for watching it.
    • 83 Metascore
    • 80 Robert Lloyd
    As in his 1994 "nine-inning" film "Baseball," the subject suits the director's deliberate, even poky pace, and the air of what might be called critical nostalgia that colors all his films. Jackie Robinson brings the old world to vivid life, but its messages are for today and any day.
    • 75 Metascore
    • 90 Robert Lloyd
    In its emphasis on character over plot it reminds me of movies from the pre-Spielberg '70s, and is in so many ways what I want from television that I feel almost like phoning each of you personally to deliver the news.
    • 82 Metascore
    • 80 Robert Lloyd
    There is a quiet naturalism to the production, quite distinct from Hollywood horror, in which every trick in the audio-visual book is marshaled to jolt you as far as possible out of your seat when the scare comes, and also from supposedly found-footage films ("The Blair Witch Project" and its progeny) that use aesthetic chaos to suggest actuality. This is altogether more mature.
    • 82 Metascore
    • 80 Robert Lloyd
    Though it has the pokey pace and flat affect of his other films--for Burns, history is elegy--it is also one of his best works: more tightly focused than usual in time and place, with a clear shape, dramatic arcs and a conclusion that is at once cautionary and moving, topical and timeless.
    • 82 Metascore
    • 80 Robert Lloyd
    If Johnson sometimes stretches a point to make a point — the link between public hygiene and competitive skateboarding, say — he is always intriguing and entertaining, his show thought-provoking and compulsively fun to watch.
    • 81 Metascore
    • 80 Robert Lloyd
    Tyler Labine makes a most excellent wacky bearded sidekick, and Rick Gonzalez and Valarie Rae Miller round out the Scooby Gang. Auteur of slackerdom Kevin Smith ("Clerks") directed the pilot, which maintains a nice fairy tale tone even as it stresses the banality of the infernal.
    • 81 Metascore
    • 80 Robert Lloyd
    Garbus, director of the Oscar-nominated, Emmy-winning "The Farm: Angola, USA," fills in many of the blanks--to an impressive extent, given the obsessively guarded privacy of her subject--in a film that is both meditative and exciting, like the game it concerns, and mercilessly penetrating even as it reserves judgment on a man whose outrageousness practically demands it.
    • 81 Metascore
    • 90 Robert Lloyd
    As television it's excellent--beautifully mounted, movingly played and only mildly melodramatic.
    • 81 Metascore
    • 70 Robert Lloyd
    All in all, this is a dynamic, addictive rendition of a complicated novel that catches the spirit of Dickens' "roaring streets" where "the noisy and the eager, and the arrogant and the froward and the vain, fretted and chafed, and made their usual uproar."
    • 81 Metascore
    • 70 Robert Lloyd
    Without making any great claims for the show's depth, I do sense a desire behind the sensation and soap to investigate something significant, if deceptively simple: how life changes in a moment.
    • 81 Metascore
    • 90 Robert Lloyd
    It is striking more for its form than its contents, which are familiar. ... But it looks and feels like nothing else on TV.
    • 81 Metascore
    • 90 Robert Lloyd
    At once more modest and more ambitious than its predecessor; more focused on detail and yet more expansive. It is also excruciatingly funny, with an emphasis on excruciating.
    • 81 Metascore
    • 80 Robert Lloyd
    [Writer/director/voice of Cleric] Steve Purcell's comic timing is splendid, as is his staging of the action scenes.
    • 81 Metascore
    • 80 Robert Lloyd
    Some characters get more screen time than others, but none are shallow; all get to tell you at least a little bit about who they are, without making too obvious a point of it (The exposition creeps in on little cat feet.)
    • 81 Metascore
    • 80 Robert Lloyd
    If you are unfamiliar with the final, fertile phase of Bowie's career — which followed his retirement from performing, after a 2004 onstage heart attack — this is a fine introduction. If you know the period, there are many odd delights: goofy tour-stop footage, behind the scenes glimpses of videos in production, a good taste of "Lazarus" in rehearsal on stage, tales of genial collaboration, and lots of music.
    • 62 Metascore
    • 80 Robert Lloyd
    The show moves fast without seeming to rush you. The timing, on the part of actors and editors alike, is excellent--both Bornheimer and Smith are good physical comedians--so that even while you can set your watch by the Next Bad Thing About to Happen, tension is created, suspense maintained.
    • 81 Metascore
    • 80 Robert Lloyd
    At one moment, the series seems set to satisfy expectations, the next to undercut them, and the next to undercut the undercutting. Its endgame twists may frustrate some viewers, but they are meaningful and not arbitrary.
    • 81 Metascore
    • 80 Robert Lloyd
    It's a conclusion that seemed to me both contrived and honest, if that makes any sense, and it left me disturbed, though not, as Doctor Who often has, a sobbing wreck.
    • 81 Metascore
    • 80 Robert Lloyd
    What makes it so engaging is not that the series finds anything new to twist, but that it works so well with and within the strictures of the well-thumbed genres it combines in equal parts: spy thriller, murder mystery, backstage drama, triangular romance.
    • 81 Metascore
    • 70 Robert Lloyd
    Unlike many series--especially cable series--and despite the propensity of some family members to take undue advantage of Cam's new good fortune, the show is not broadly cynical about people or institutions, which makes it easy to like, despite its sometimes wobbly tone and occasional clumsy construction.
    • 81 Metascore
    • 100 Robert Lloyd
    This is not just whistling Dixie. Although basically comic, and not without moments of beauty and relief, the series is a dream in which you escape one trap only to fall into another, elude your pursuer only to find him somehow before you, and where hope springs eternal only so it can be eternally snatched away. But you should watch it, anyway, and take your time.
    • 81 Metascore
    • 80 Robert Lloyd
    Even when the cut comes fast, they stay elegant; the images all register. We cut into conversations in the middle, suggesting talk that has been going on awhile and might go on longer. Scenes show as much as they need to, and just a little more, without seeming interrupted.
    • 81 Metascore
    • 80 Robert Lloyd
    More a sketch than a thorough retelling--though still recommended as such--and as balanced as you can be about the scandal given the facts, the film begins at the end, or just before it, with the remarkable, once much-bootlegged footage of Nixon preparing to resign.
    • 80 Metascore
    • 80 Robert Lloyd
    Each book gets its own hour, which is little enough time to put a novel, even a short one, on-screen. And yet every episode feels eventful without seeming hurried. The compression does tend to make some thematic points obvious and some characters more overtly ridiculous or awful than they appear in the books, where St. Aubyn spends time in many different heads, and conversations spool out over pages.
    • 80 Metascore
    • 80 Robert Lloyd
    Artistically, it may be an unnecessary appendix, but I'm not complaining. More pie? I will make room somehow.
    • 80 Metascore
    • 70 Robert Lloyd
    Fine character actors abound, playing people on the rural edges, but it's the main character and Olyphant's performance that lift the sometimes labored plot lines and carry them over the finish line.
    • 80 Metascore
    • 80 Robert Lloyd
    Everything here feels lived in and actual.
    • 80 Metascore
    • 80 Robert Lloyd
    It's one of the best things to come out of the fall season, but as a recreational television watcher, I like it too.
    • 80 Metascore
    • 80 Robert Lloyd
    The Good Fight preserves its predecessors’ tone, intelligence, quirkiness and Nancy Drew sense of adventure, while leaving behind some old, beaten baggage.
    • 80 Metascore
    • 80 Robert Lloyd
    The strength of the series lies not in the whodunit elements--it isn't hard to work out who's behind it, even if it isn't immediately apparent why--but in its eye for local details and small human gestures.
    • 80 Metascore
    • 80 Robert Lloyd
    Apart from a surfeit of split screen effects and some overbearing soundtrack selections, I have no quarrel with this series at all, and wore a lump in my throat through much of it.
    • 80 Metascore
    • 80 Robert Lloyd
    It is a suitably complicated and pictorially engaging work of period suburban mystery, with a large cast of characters
    • 80 Metascore
    • 80 Robert Lloyd
    Rick Beyer's fascinating, detailed and oddly delightful account of the World War II military camouflage artists whose job was not to hide men and materiel but to create battalions where none actually existed, drawing German eyes and ears to the wrong place.
    • 80 Metascore
    • 80 Robert Lloyd
    That the two men are in their 30s makes their perseverance more poignant--to somewhat overstate the case--and that they have no money places them in a long and honorable line of comedians who cannot put two cents together to buy a glass of seltzer.
    • 79 Metascore
    • 80 Robert Lloyd
    The goings-on feel fresh in the way that kids at play make spy or space stories their own, even as they repeat what TV and the movies have taught them. This is just that with a budget, some deeper experience and the help of Jennifer Saunders, Rebecca Front, Dougray Scott and David Harewood, among interesting others.
    • 79 Metascore
    • 70 Robert Lloyd
    Themes from earlier Toy Story movies are also recycled, which should bother no one. Although Woody and Buzz get their screen time--with Jessie, they are the "Jules et Jim" of computer-animated cartoons about sentient playthings--it is the plucky cowgirl, facing her fears, whose story this is.
    • 79 Metascore
    • 80 Robert Lloyd
    Though neither naive nor mum about its subject's destructive complications and contradictions, his brutal youth and abuse of women, Alex Gibney's film concentrates on Brown the performer--both as a musician and as a public political personage, the voice of black pride (say it loud!) and economic self-sufficiency.
    • 79 Metascore
    • 70 Robert Lloyd
    It is something shy of electrifying and not always convincing, but it pulls you right along and offers too many good moments and fine performances not to recommend it.
    • 79 Metascore
    • 80 Robert Lloyd
    It preserves the domestically framed, socially engaged flavor of the original while mixing in new verve. And it has turned out very well: smart, fun, bighearted and less noisy and hectoring than Lear works of old could sometimes be.
    • 79 Metascore
    • 80 Robert Lloyd
    By loading his film with musicians and producers and songwriters who can take a song down to its components--some of whom were behind the scenes, some of whom were then just kids buying the records--Lee keeps his celebration smart and not soppy.
    • 79 Metascore
    • 70 Robert Lloyd
    The show's attitudinal mix of the jaded and amazed, the shocked and amused, is supported by the production itself.

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