For 701 reviews, this critic has graded:
  • 58% higher than the average critic
  • 5% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 1.9 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 64
Highest review score: 100 True Detective: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 701
701 tv reviews
    • 59 Metascore
    • 60 Robert Lloyd
    As drama, it's uneven, often cliched, even silly, but, like the store in which it's set--and whose ground floor, mezzanine and facade have been splendidly re-created--so variously stocked that you will likely find something here to take home.
    • 64 Metascore
    • 60 Robert Lloyd
    Lucas could spend the rest of his life filling that hiatus with adventures whose outcomes are basically irrelevant to the larger story he has already finished telling. Many battles make up a war, after all, and each is an episode waiting to be animated. The two I've seen are bagatelles--brief and insubstantial but colorful and fluid.
    • 50 Metascore
    • 60 Robert Lloyd
    Everything in the pilot, written by executive producer Claudia Lonow, is a hair or three too strenuous; Billie has been knocked down to a few easy-to-grasp impulses, and almost all the other roles are filled by stereotypes--Jensen's most wastefully--in stereotypical relationships. Nevertheless, the premise is full of interesting possibilities about love and age and unconventional parenting.
    • 48 Metascore
    • 60 Robert Lloyd
    The show's shifts in tone can seem ungainly; the comedy, of which there is more than usual in such shows, sometimes rubs uncomfortably against the premise.... Yet the show is best when it's funniest.
    • 62 Metascore
    • 60 Robert Lloyd
    It's an uneven show that lacks the finely crafted eccentricity of a "Northern Exposure" and "Twin Peaks" or "Picket Fences" (other strange-small-town shows featuring police officers), but when I say "uneven," I do mean that sometimes it's good.
    • 67 Metascore
    • 60 Robert Lloyd
    It does get a little pretentious at times, especially during the opening and closing narrations, but its pretensions are very much comic-book pretensions, and therefore allowable in what is, fundamentally, a comic book.
    • 52 Metascore
    • 60 Robert Lloyd
    The series keeps generally on the right side of things by virtue of the excellence and exuberance of the performances, which add flesh where needed; by moving fast enough to keep ahead of your second thoughts; and by spreading the ridiculousness around.
    • tbd Metascore
    • 60 Robert Lloyd
    World Without End is, to use a Python word, silly much of the time. But in a piece this big and busy, individual elements can stand out as enjoyable even when the whole is less than the sum of those parts.
    • 57 Metascore
    • 60 Robert Lloyd
    Their TV show, which might make the band more famous than its music, is lightweight, sometimes flat and sometimes embarrassing, with none of the deadpan brilliance of "Flight of the Conchords" or the sophisticated sitcomedy of the late “The Chris Isaak Show.”
    • 53 Metascore
    • 60 Robert Lloyd
    Old-chestnut premise notwithstanding, the show wants to be modern, and the humor occasionally pushes further than one might expect from a family comedy.
    • 57 Metascore
    • 60 Robert Lloyd
    Notwithstanding the novelty of the setting, the nice Latin music and good individual work by the cast--Walker is especially notable in a role made to notice--Smits is the engine that drives the ship; he gives Cane at least an illusion of speed and substance and soul.
    • 61 Metascore
    • 60 Robert Lloyd
    An expectation of failure is built into the comedy, so that at times the contestants are funny only in the attempt to be funny. At other times, given the circumstances, it may seem miraculous that they can be funny at all.
    • 63 Metascore
    • 60 Robert Lloyd
    Still, for all the unlikely things the Gaytons make happen in order to get their characters into place, and the dogged refusal of a couple of those characters to become interesting at all, the show gathers steam as it goes on.
    • 44 Metascore
    • 60 Robert Lloyd
    As with most things Wolf, it is superbly cast, almost too well... But every small role is well cast too -- the judges, the defendants, the policemen. They help create a lively world that's more believable than it sometimes deserves to be, and it is almost always engaging.
    • 67 Metascore
    • 60 Robert Lloyd
    State of Mind is the weaker (and the more strenuous and sour) of the two [new shows on Lifetime], and all the more disappointing for the presence of the reliably interesting Taylor.
    • 33 Metascore
    • 60 Robert Lloyd
    It's an amiable show whose main purpose is to give Prinze a place to be amiable in, and it does that well enough, when it isn't straining for laughs or wandering too far from the path of probability.
    • 57 Metascore
    • 60 Robert Lloyd
    The show starts out annoying and then gets less annoying. ... I don't have great hopes for this, but I had expected it to burn the eyes from my head, and that is not at all the case.
    • 50 Metascore
    • 60 Robert Lloyd
    It's funny in its own way, smarter than most TV comedies and has a terrific cast -- all of which makes me wonder why I'm not more moved by it.
    • 77 Metascore
    • 60 Robert Lloyd
    It has its good points and its less good points, but there's enough of the former to merit a look.
    • 67 Metascore
    • 60 Robert Lloyd
    Too Big to Fail is pretty consistent low-key entertainment if not exactly enlightening (because it is an impersonation of the truth) or gripping (because we already know how it sort of ends).
    • 61 Metascore
    • 60 Robert Lloyd
    This is news that never quite rises to the level of an event: "David Mamet Came to Television and All We Got Was a Better 'E-Ring.' "
    • 64 Metascore
    • 60 Robert Lloyd
    With a couple of minor changes--new graphics, new desk--Noah's first show kept everything in place. The theme song, the correspondents, the Moment of Zen. The bent remains political.... As with every new host since the beginning of hosts, he was the least comfortable in the interview segment--with "comedic rock star" Kevin Hart. It made him seem young in a way the rest of the show did not.
    • 51 Metascore
    • 60 Robert Lloyd
    As it goes on, the show becomes less of a bro-fest, a bro-stock, a bro-achella and more of a balanced coed ensemble comedy. ... It is all more charming after the fourth episode than after the first.
    • 58 Metascore
    • 60 Robert Lloyd
    If it plays havoc with the realities of medical practice, well, so did "House." And to glamorize, sanitize and romanticize illness is, after all, an old Hollywood tradition; and this is a show with a target audience for whom even death, in soft enough focus, can constitute a sort of wish fulfillment.
    • 70 Metascore
    • 60 Robert Lloyd
    A pretty good new series.
    • 44 Metascore
    • 60 Robert Lloyd
    Although the pilot feels somewhat made-to-order and its characters are schematically arrayed - press materials describe them as "the everyday couple" (Kyle Bornheimer and Christine Woods), "the high-passion couple" (David Walton and Mary Elizabeth Ellis) and "the couple that strives to be perfect" (Hayes MacArthur and Olivia Munn)--subsequent episodes grow looser and more natural, even as they get stranger.
    • 69 Metascore
    • 60 Robert Lloyd
    I can't say I have completely made up my mind myself, though on balance I'm more yea than nay, and the series' intelligent dopiness is something of a going style in comedy. Certain things do strike me odd.
    • 50 Metascore
    • 60 Robert Lloyd
    Once again written by Pamela K. Long and directed by Stephen Herek, it's not quite up to the mark of its predecessor, whose strengths were in ordinary domestic relations and challenges--a Smoky Mountains "Waltons."
    • 62 Metascore
    • 60 Robert Lloyd
    It is a sometimes clever, just as often clichéd mix of dystopian tropes, with performances ranging from nicely modulated to almost over the top, and some sly design that, along with some twisted PSAs, also accounts for most of the story’s humor. It is quite watchable and nothing special.
    • 58 Metascore
    • 60 Robert Lloyd
    It is buried in whimsicality and paeans to "feeling" and leaping into the void. And the stars do feel out of sync. (Williams is more comfortable riffing with James Wolk--"Mad Men's" Bob Benson--as... some other guy who works there.) We will give it some time.
    • 49 Metascore
    • 60 Robert Lloyd
    A light dusting of Milton notwithstanding, its pitch is mainstream and middlebrow. A decently made series that is neither particularly original nor entirely predictable.
    • 47 Metascore
    • 60 Robert Lloyd
    This is only an average situation comedy, but even the great ones have worn that makeup.
    • 45 Metascore
    • 60 Robert Lloyd
    While much of it is silly, corny or clichéd and relies more on easy effects — the power ballad, the overwrought sex scene — than on the subtle explorations of people and place that the pilot seems to promise, the series is, on the whole, highly digestible summer fun.
    • 61 Metascore
    • 60 Robert Lloyd
    I can't say the pilot struck me as especially funny, but there are good things and talented people in it, and it looks good.
    • tbd Metascore
    • 60 Robert Lloyd
    The show fulfills its mission: It is an industrial entertainment, a candy-colored machine to snare budding consumers who (once again) are not being served so much as being served up.
    • 61 Metascore
    • 60 Robert Lloyd
    The celebration and surrender are enough to put the viewer in a vicarious good mood, no matter how unconvincing its context.
    • 48 Metascore
    • 60 Robert Lloyd
    If the Awful Truth of the Global Meltdown is the big carrot "Jericho" dangles before you, it is no more compelling than the question of which of the available good-looking girls Ulrich is going to get close to.
    • 65 Metascore
    • 60 Robert Lloyd
    It's a comic book, basically, a B-movie, a pulp fiction, and low enough in the cultural reckoning of things to set its own rules with impunity.... Part of the pleasure of the series is that particular pleasure of watching a super-heroic character who can't fail.
    • 65 Metascore
    • 60 Robert Lloyd
    It isn't until the glimmer of a plot finally emerges, after Todd stumbles into a Middle Eastern market with a can of Thunder Muscle, eliciting sudden mysterious interest--that the series inches past mere mockery to the promise of more muscular misadventure.
    • 68 Metascore
    • 60 Robert Lloyd
    An aura of staginess, of manufactured drama and strenuous comedy, surrounds the show and works into its every cranny and nook. As a result, one never feels that the pair are in even as much danger as they're actually in. Yet it is not without charm; indeed, its appeal is in its pretense.
    • 70 Metascore
    • 60 Robert Lloyd
    If hardly a moment feels plausible, the show has energy to spare and so many balls in the air by the end of the pilot that it's hard not to want to see where they will come down.
    • 62 Metascore
    • 60 Robert Lloyd
    It works best at its most intimate, as family drama, and as another variant on "The Real World," in which people who would not ordinarily live together are made to do so.
    • 59 Metascore
    • 60 Robert Lloyd
    Wootton is a quick-minded, thematically consistent improviser who thoroughly knows his characters, and obviously something of a daredevil: You can get hurt doing this stuff, or arrested. But as in Baron Cohen's comedies, the cleverness of the star is too much the point.
    • 59 Metascore
    • 60 Robert Lloyd
    The setting is exotic, and the characters are colorful in ordinary, workaday ways. The series' one real failing is that it doesn't completely trust them to carry the drama, laying on the high-volume audiovisual tics and tricks of reality television to remind us to be interested and excited. And yet it's the smaller, unvarnished, passing moments that sell the show--where its particular poetry, and even its comedy, can be found.
    • 67 Metascore
    • 60 Robert Lloyd
    Nevertheless, this is a kind of American classic that goes right against the grain of what cartoons are supposed to be.
    • 51 Metascore
    • 60 Robert Lloyd
    Whatever else you make of it--and it's enough to say that if you like this sort of thing, you will like this thing--it's all, or partly, for a good cause.
    • 58 Metascore
    • 60 Robert Lloyd
    None of the characters--including the usual smart hot girl, mean hot girl and mean hot guy--range beyond well-established types, and the show would have to stand on a chair to aim any lower. But it is mostly sweet-tempered and oddly moral, and, as I write these words, I do not hate it.
    • 50 Metascore
    • 60 Robert Lloyd
    It has an appealing modesty that survives its bouts of aesthetic overexcitement--the occasionally lurching camera, hammering soundtrack, the sentimental pop song laid over the last couple of minutes as the principals silently end a long, hard day.
    • 52 Metascore
    • 60 Robert Lloyd
    I can't say I found much of Workaholics especially funny, but neither do I have it in my heart to hate it. On a craft level, it's very nicely made, the actors are weirdly appealing, and its spirit is not mean, but sweet.
    • 56 Metascore
    • 60 Robert Lloyd
    I like what I've seen, though there are more than a couple of moments where the only possible reaction is "Naaah."
    • 40 Metascore
    • 60 Robert Lloyd
    The series is not so different from, or significantly worse--or better--than the network's other two season premieres, "Melrose Place" and "The Vampire Diaries," which also affix stock characters, played mostly by good-looking young folk, to standard plot lines sexed up with pop songs and different flavors of visual glamour. Because they do not aim particularly high, they pretty much hit what they aim at.
    • 41 Metascore
    • 60 Robert Lloyd
    In spite of some talented actors, it all seems more scripted than lived, referring not the world but a world of things you've seen on TV, handled well enough to make Mercy passable, but never exceptional, television.
    • 55 Metascore
    • 60 Robert Lloyd
    Though it is flat and obvious at times, and some might call it ill-paced--I think of it as leisurely--it is only a little sanctimonious and not at all stuffed.
    • 42 Metascore
    • 60 Robert Lloyd
    Their [Gethard and Parnell] interplay, once things get moving, is appealing, if not quite compelling, but what sold me on the pilot was the moment when 14-year-old Dylan Blue, as Gethard's beyond-the-law kid brother, revealed his dark side, and his gun; I was a little frightened.
    • 61 Metascore
    • 60 Robert Lloyd
    Much about the pilot felt flat or programmatic to me, but much was likable as well, especially the nonchalant tenderness between the male leads. And the cast is good.
    • 28 Metascore
    • 60 Robert Lloyd
    It may be seen as a kinder, gentler, funnier cousin to Fox's bitter " 'Til Death."
    • 48 Metascore
    • 60 Robert Lloyd
    It was an encouraging start.
    • 64 Metascore
    • 60 Robert Lloyd
    The first lines of this new chapter were promising, if not quite the fulfillment of his last wild nights at NBC, when caution was thrown to the wind.
    • 46 Metascore
    • 60 Robert Lloyd
    Yet if the pilot is generic and wan, it is at least sweet-tempered and not completely offensive (though this is somewhat at odds with its cinematic heritage).
    • 69 Metascore
    • 60 Robert Lloyd
    It is technically proficient--that is, the jokes consistently work, even when they don't add up to much--and its problems may not be unsolvable, if anyone even considers them problems in the first place.
    • 51 Metascore
    • 60 Robert Lloyd
    Lacking the subtext, satire and snappy talk that made "Buffy" golden, Demons (on the evidence of its first two episodes) has little on its mind past raising spooks and smiting them, but it does a fair enough job of that.
    • 48 Metascore
    • 60 Robert Lloyd
    For all its flaws, there's something attractively amiable about Harry's Law. A little more grit, a little less speechifying, and a better verdict might yet arrive.
    • 71 Metascore
    • 60 Robert Lloyd
    It's a decent but not brilliant beginning.
    • 59 Metascore
    • 60 Robert Lloyd
    Like other Rhimes shows, including "Scandal" and "Grey's Anatomy," it filters a lot of nuttiness through good actors who can make compelling what otherwise might seem absurd.
    • 56 Metascore
    • 60 Robert Lloyd
    Like its predecessor, “Vice Principals” goes all in for profanity and the trading of childish insults (“Keep walkin’, sassypants” is one I can quote), and there is a certain melodic delight in hearing Goggins pronounce the multisyllabic bad words the basic-cable rules kept from him saying on “Justified.” But the comic returns do diminish.
    • 54 Metascore
    • 60 Robert Lloyd
    New York also offers the gift of its locations, which are used abundantly and give the show a sense of reality its script does not always earn. (The actors take up the rest of the slack.)
    • 65 Metascore
    • 60 Robert Lloyd
    Crimson Petal could lose an hour without sacrificing a single scene or word of dialogue, and it would still seem slow and moody.
    • 74 Metascore
    • 60 Robert Lloyd
    But even at 10 hours, Carrier feels cursory and incomplete. That's not to say that at most any given moment it's uninteresting--it's quite watchable--just that it doesn't add up to as much as it should.
    • 61 Metascore
    • 60 Robert Lloyd
    Chicagoland is a mosaic, as befits its many-cultured metropolitan setting--and for better or worse. The series moves fast to get it all in, muscling you with its Big Shoulders and too-present hip-hoppy soundtrack, giving you just enough of its characters--including kids and cops, a doctor, a rapper, a restaurateur--to make you feel you should be getting more of them.
    • 41 Metascore
    • 60 Robert Lloyd
    An ideal summer entertainment for armchair travelers.
    • 63 Metascore
    • 60 Robert Lloyd
    There is a professional efficiency to much of the comedy. (It is funny sometimes.)
    • 62 Metascore
    • 60 Robert Lloyd
    Many of those gags are mechanical and flat, although they are delivered as though they were not. But when the leads are focused on each other, size no longer matters and the show flickers to life.
    • 63 Metascore
    • 60 Robert Lloyd
    New show runner Joshua Safran has, in any case, declared himself a fan of the show, promising changes more surgical than wholesale, a promise disappointing in its way. Nevertheless, he has trimmed much deadwood.
    • 58 Metascore
    • 60 Robert Lloyd
    A long ride to nowhere but with some nice scenery and exciting turns along the way.
    • 39 Metascore
    • 60 Robert Lloyd
    Despite such bloody activity, it's a long trudge through the desert to the Promised Land.
    • 61 Metascore
    • 60 Robert Lloyd
    Whether or not they add up to much, the scenes play well, and there are enough heavy-breathing soap-operatics, random acts of violence and unanswered questions to keep one idly watching.
    • 68 Metascore
    • 60 Robert Lloyd
    "The State Within"... is something less than perfect, but if you have a taste for high-level skulduggery and do not mind being totally confused much of the time, it's an enjoyable enough ride — fun, sometimes exciting, basically intelligent, occasionally preposterous.
    • 56 Metascore
    • 60 Robert Lloyd
    All their best scenes are with one another and have less to do with whatever case they're contesting than with their shared personal history--the characters are old friends, maybe lovers--and teasingly suggested future. The crimes, by contrast, are not particularly compelling, even when they are sensational, and feel invented merely to let the stars talk.
    • 58 Metascore
    • 60 Robert Lloyd
    The principals are all good.... And there are funny lines.... At the same time, the show feels something shy of essential.
    • 54 Metascore
    • 60 Robert Lloyd
    If you're in the mood for some outer space, I wouldn't warn you away. Livingston and Harris work well together, and though it's too soon to know whether this will go anywhere interesting, it's also too soon to say it won't. I do wonder what's coming.
    • 58 Metascore
    • 60 Robert Lloyd
    It's corny, ponderous, literary, ambitious, obvious and, at the beginning at least, as slow as molasses, but continually re-energized by Ian McShane as King Saul, or, as he's known here, King Silas Benjamin
    • 65 Metascore
    • 60 Robert Lloyd
    From where I sit, it is something of a mixed bag, but it works more than it doesn't, and an impressive, semi-big-name cast helps keep it upright and lends the project an air of prestige--especially in the context of its modest little network.
    • 78 Metascore
    • 60 Robert Lloyd
    There are enough interesting ideas inherent in the material to warrant giving The Americans a chance, and interesting enough ideas that one wishes a little more attention were being paid to them, and a little less to the usual spy-jinks.
    • 57 Metascore
    • 60 Robert Lloyd
    Stan Against Evil is light, if violent, entertainment. The jokes are moderately funny, the characters two-and-a-half dimensional.
    • 54 Metascore
    • 60 Robert Lloyd
    The prologue is well-handled, suspenseful and alarming, but much of what follows seems at least a little bit silly or confused.
    • 36 Metascore
    • 60 Robert Lloyd
    There's nothing here you couldn't imagine from the premise, but there's also nothing wrong with what's here: McGraw is a good foil for Grammer, and Grammer is good at what he does.
    • 58 Metascore
    • 60 Robert Lloyd
    The cleverest part of the show is that it makes the judges into contestants; they compete against one another for the right to invest in a business, and they haggle with the entrepreneurs over the terms of their investment.
    • 49 Metascore
    • 60 Robert Lloyd
    As is the case with pilots, the seams tend to show--the bountiful expository dialogue makes no effort to veil its purpose, and the production is a tad too insistent that we find these scamps charming. But they are fairly charming at that, and though the spy stuff is all unconvincing hokum, the company is easy to bear.
    • 56 Metascore
    • 60 Robert Lloyd
    Most of what doesn't work in the pilot happens when the production strives for a big effect or grand stroke, while all of what works best happens in the close space between the leads.
    • 59 Metascore
    • 60 Robert Lloyd
    Painless at worst, and mostly better than that.
    • 55 Metascore
    • 60 Robert Lloyd
    When Believe tries to be meaningful, it's also at its most obvious, and the show could prove to be too willfully touching for its own good. But it doesn't seem impossible to me that they could get the mix right.
    • 43 Metascore
    • 60 Robert Lloyd
    It's too schematic by half, the banter rarely ascends to the level and wit, and it contains barely a believable moment... but it is not without a certain energy and cast-based charm.
    • 58 Metascore
    • 60 Robert Lloyd
    Except in the decorative details, it is exactly the same as every other gimme-a-job reality show ever made, with the contestants all banged up in a fancy dormitory from which they disappear one by one after themed weekly challenges.
    • 67 Metascore
    • 60 Robert Lloyd
    "Casanova" only gets into trouble when it wants to mean something, and the more pointedly emotional moments seem cooked up to the point of hokum, but it's fun when it wants to be, and most of the time it just wants to be fun.
    • 61 Metascore
    • 60 Robert Lloyd
    It's probably enough to say that if you like this sort of thing, this is just the sort of thing you'll like. (If the tautology fits, wear it.) Rodriguez knows how this machine works as well as anyone alive. Whether such sensationalist kicks are good for us "as a people," or indeed as people in particular, is a question the culture and its guardians and gadflies have been batting around for years. A decision is not due any time soon.
    • 62 Metascore
    • 60 Robert Lloyd
    Some of these women are troubled, certainly, but none of them seems like trouble. Indeed, I felt a little sad at times, watching--not as I usually do, for the society that could produce such a program, but for the actual women in it, as far as I could make them out.
    • 50 Metascore
    • 60 Robert Lloyd
    [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
    • 48 Metascore
    • 60 Robert Lloyd
    It's a premise that seems more appropriate to a mid-'90s theatrical romantic comedy -- something with Sandra Bullock or Meg Ryan -- than to a TV series, and indeed, given how much transpires in the pilot, you could bang an extra hour of complications and resolutions onto the end and have a spiffy little chick flick.
    • 53 Metascore
    • 60 Robert Lloyd
    Pope is a likeable woman, smart and sensible. Although the Difficult Boss is a common feature of Bravo series, by network standards she is egoless as the Buddha. Indeed, as a protector of the almost-born from the fuzzy thinking and distracted inattention of their parents, she is a bastion of perspective.
    • 57 Metascore
    • 60 Robert Lloyd
    It's just the same joke endlessly repeated--the everyday translated into geek-speak, and the obscure and difficult treated as if it were common knowledge.... These are perilous times for sitcoms, and Lorre & Co. may want to think up another.
    • 56 Metascore
    • 60 Robert Lloyd
    If he seems a little too dense at times, Kutcher has a good way with amiable idiots, and Masterson does well with bittersweet sarcasm. Still, it's Elliott and Winger (it's exciting just to see her working, I admit), coming from outside the genre, who make The Ranch feel at least a little new.
    • 61 Metascore
    • 60 Robert Lloyd
    At times it feels enough that the players seem to be enjoying themselves to enjoy it alongside them.
    • 55 Metascore
    • 60 Robert Lloyd
    While the performances are first-rate, and the film is never less than enjoyable, it doesn't quite take off.
    • 48 Metascore
    • 60 Robert Lloyd
    Perfectly fine and nothing special.
    • 54 Metascore
    • 60 Robert Lloyd
    Everyone onscreen does a good job. That some of the readings are a little stiff is not inimical to this sort of drama.... The fights, which are bloody, fast and squelchy, quickly become purely choreographic; they're like puzzles to solve in order for the narrative to proceed and, perhaps not oddly, the only time the show feels fun.
    • 37 Metascore
    • 50 Robert Lloyd
    [Gilbert] seems like a real person, even in such a cartoon as this is.
    • 57 Metascore
    • 50 Robert Lloyd
    The Comedians is a strangely mixed bag, which works or doesn't work from moment to moment and from mode to mode.
    • 59 Metascore
    • 50 Robert Lloyd
    If "The Class" feels calculated, unrelated to life outside sitcoms, and encased in amber, it's a competent American product, ultimately, no harder to watch than, say, a Dodge is to drive.
    • 52 Metascore
    • 50 Robert Lloyd
    It is less exciting than it sounds.
    • 56 Metascore
    • 50 Robert Lloyd
    There is a story to be made from this, about aspiration and achievement and what goes on in the gap between them, but that is not a story that television, or any other form of American mass culture, particularly likes to tell. Underemployed flirts with it but more often settles for flattering its audience, reflecting not only its hopes but also its resentments.
    • 60 Metascore
    • 50 Robert Lloyd
    It lurches in tone and an accelerated narrative that seems at times to leave holes in the storytelling, gaps that draw you up short where you should be just be sailing along. Still, if it's a bit of a mess, it's not an uninteresting one.
    • 64 Metascore
    • 50 Robert Lloyd
    "Threshold" is a comic book, and passable as such.
    • 63 Metascore
    • 50 Robert Lloyd
    Detroit 1-8-7 is, rather than a slice of life, very much a slab of TV. And yet, as currently constituted, the show's only way forward is through the unlikely Fitch; his emotional awkwardness is more interesting than the cases he works.
    • 46 Metascore
    • 50 Robert Lloyd
    It is so far minor stuff, inconsistent in tone and not particularly original yet fundamentally sweet and, if not stared at too hard, appealing.
    • 45 Metascore
    • 50 Robert Lloyd
    In some ways, it is like a placebo, lacking substance, but not ineffective. In others, it is a kind of gaily packaged generic equivalent to some better-known brand.
    • 63 Metascore
    • 50 Robert Lloyd
    It's a mixed bag of a series that can seem smart or silly from scene to scene and is less convincing in its epic poses than in its most ordinary moments.
    • 52 Metascore
    • 50 Robert Lloyd
    Television, like love, is a matter of chemistry, of which none is yet obvious between the leads here. Will it come? Trevor would tell you that you should know it in an instant, while Claire would reserve judgment; they're both right, of course, some of the time.
    • 51 Metascore
    • 50 Robert Lloyd
    Although we are meant to regard its dishonest protagonists as the epitome of contemporary cool, they come off as self-satisfied and pretentious.
    • 48 Metascore
    • 50 Robert Lloyd
    It's not all bad, but nothing in it argues that it needed to be made other than to give the people who made it something to do. It's a mediocre misfire in which the odd good parts beg for a better home.
    • 57 Metascore
    • 50 Robert Lloyd
    For younger viewers just discovering irony and metafiction and possibly not acquainted with the screen originals, which have done them to death, this may seem fresh and fun.
    • 44 Metascore
    • 50 Robert Lloyd
    It's a decent enough show, a soap opera essentially, playing around with heavy themes and life-changing events but lightweight enough not to make you think too hard or keep you glued to the television when you decide you want something from the refrigerator — the TV equivalent of a beach book.
    • 43 Metascore
    • 50 Robert Lloyd
    Action is the main course here, however many semi-meaningful dramatic condiments surround it.
    • 69 Metascore
    • 50 Robert Lloyd
    There are more than a few problems here.
    • 54 Metascore
    • 50 Robert Lloyd
    Though DaCosta and Escarpeta each creates a sympathetic character--at times, the picture feels meant to make you forget you ever saw "Being Bobby Brown"--they lack chemistry. For all the script insists otherwise, their love, and thus the film about it, feels something less than necessary.
    • 51 Metascore
    • 50 Robert Lloyd
    I, the Jury, am still out on this one; it could go either way from here.
    • 64 Metascore
    • 50 Robert Lloyd
    Six of 10 episodes were made available for review; and over their course the truth-telling gets a little repetitious, a little annoying, a little dull; there are only so many bandages you can rip off to reveal other bandages you can rip off to get down to the skin you can peel back to get down to the bone.
    • 64 Metascore
    • 50 Robert Lloyd
    Camp Rock isn't particularly good, but it's good at what it does. The product may be "inauthentic," if such a thing is even possible, but the way it will connect with a lot of little girls and more than a few little boys is real enough.
    • 42 Metascore
    • 50 Robert Lloyd
    The pilot half aims for the exaggerated, other-worldly tone of "Arrested Development" and misses.... The second episode, by contrast, has a healthy dose of the ordinary mixed in and is actually about something: the invisibility of the working class.
    • 49 Metascore
    • 50 Robert Lloyd
    It is almost a given that shows like this, which invent variety anew for every new host, start on shaky legs, and Why? did not buck the trend. Still, it came out of the gate strong, before stumbling a little in the stretch.
    • 34 Metascore
    • 50 Robert Lloyd
    While its cynicism about suburbia is superficially novel, the show itself is quite old-fashioned if not old hat: lame dad, smart mom, cute child, knowing child, strange neighbor. Door here, door there, couch in the middle.
    • 44 Metascore
    • 50 Robert Lloyd
    Apart from Underwood, who has class-A TV-star appeal, the show is nothing special. No worse than or much different from your average character-driven cop show.
    • 46 Metascore
    • 50 Robert Lloyd
    Ryan prompts the patrons to talk, but the stories don't really develop into much; and although the arms-buying demographic is indeed wider than one who has not spent much time in a gun store might imagine, their reasons for buying tend to be variations on the same few themes: I was robbed; I don't want to be robbed; guns are fun to collect and shoot.
    • 57 Metascore
    • 50 Robert Lloyd
    It's diverting enough while it goes by, even if you can see where the story's going long before it gets there.
    • tbd Metascore
    • 50 Robert Lloyd
    A shaggy, amiable trifle in which character is sometimes subservient to quips, it has the feel of improv sketch comedy on a night when the "A" cast is on.
    • 57 Metascore
    • 50 Robert Lloyd
    It moves along, dutifully moving the players to their appointed plot points. And there are some nice performances; I would draw your attention to that of Naturi Naughton, as Ghost's wife, consistently a warm body in an often chilly show.
    • 58 Metascore
    • 50 Robert Lloyd
    It is, to be fair, watchable enough, if watched uncritically, and not without flashes of high craft; art and inspiration are a little beyond its grasp. [3 Jan 2005]
    • Los Angeles Times
    • 51 Metascore
    • 50 Robert Lloyd
    It's a fine cast, and one wishes they had something a little more focused to do, something a little less predictable, something that wove the isolated good moments into a consistent whole.
    • 38 Metascore
    • 50 Robert Lloyd
    When the campers are just sitting around talking, about sex or God--or about each other behind their various radio-miked backs--they provide the gentle stimulation of coffee-shop eavesdropping.... When they argue, which they do, mostly over food and money or someone's self-professed expertise not being respected, it becomes tiring, like listening to the neighbors fight.
    • 66 Metascore
    • 50 Robert Lloyd
    As is often the case with melodrama, I find Revenge essentially unconvincing and also quite likable.
    • 64 Metascore
    • 50 Robert Lloyd
    It's solidly constructed and gives each actor a modicum of delightful moments — Wiest most of all. At the same time, there is something airless and artificial about the pilot.
    • 64 Metascore
    • 50 Robert Lloyd
    Though the TV version catches some of the tone and replicates the topicality of the big-screen originals, and shares executive producers, it lacks their grounded reality -- not too surprising, really, for a work of fiction based on a work of fiction -- as well as their warmth. [12 Aug 2005, p.E2]
    • Los Angeles Times
    • 50 Metascore
    • 50 Robert Lloyd
    The show runs hot and cold, loose and stiff from scene to scene, sometimes pulling back a curtain on a hidden world but just as often running down tracks that nearly two decades worth of TV anti-heroism have worn thin.
    • 47 Metascore
    • 50 Robert Lloyd
    Though some of it is effective, much of it is not, for all that it strong-arms the viewer with dark atmosphere and upsetting events. (Watch out for that cat.) It is, in its opening hours at least, a moody muddle.
    • 49 Metascore
    • 50 Robert Lloyd
    The pilot is a minor thing but not an unpleasant one, once you get past the opening salvo of pubic-hair jokes.
    • 43 Metascore
    • 50 Robert Lloyd
    Though my tolerance for tear jerking in-your-face, feel-good makeover shows is comparatively limited, I don't want to come down too hard on Breakthrough, however much it commodifies misfortune or stage-manages reality.
    • 51 Metascore
    • 50 Robert Lloyd
    The series is overwrought or obvious at times, and here and there can look surprisingly cheap. But it's generally quite watchable and not uninteresting.
    • 81 Metascore
    • 50 Robert Lloyd
    The play, and the production, might have been better served by rolling a few cameras into the theater, but I know that isn't how people like to do these things.
    • 86 Metascore
    • 50 Robert Lloyd
    At something more than five hours, Prohibition, while interesting from moment to moment, is longer than it needs to be, and made even longer by Burns' habitual stateliness.
    • 44 Metascore
    • 50 Robert Lloyd
    If you even suspect you won't hate it, it's worth a look.
    • 60 Metascore
    • 50 Robert Lloyd
    We get a glimpse of some intriguing characters that we don't, however, quite come to know--not in the episodes I've seen, anyway--because we are being pelted the whole time with exposition and explanation. We're rarely allowed just to look or listen in or to think for ourselves.
    • 51 Metascore
    • 50 Robert Lloyd
    Given that it wants to seem edgy and quirky, "Saved" is remarkably rich in cliché... Still, it's no worse than average and has Tom Everett Scott in it, which is a nice thing for TV viewers.
    • 53 Metascore
    • 50 Robert Lloyd
    Although there is nothing compelling... ["Out Of Practice" is a] professional job and not hard to watch.
    • 54 Metascore
    • 50 Robert Lloyd
    Though it is clearly based on research, with dialogue that scavenges the principals' own writing--it is never quite believable, either as history or drama.
    • 65 Metascore
    • 50 Robert Lloyd
    Enlisted is an oddly quaint show, a stateside service comedy, if not quite a peacetime one.
    • 68 Metascore
    • 50 Robert Lloyd
    All of the wives are more interesting than their husband. Paxton's character remains a problem for me and, as the pole on which this tent depends, a crucial one.
    • 68 Metascore
    • 50 Robert Lloyd
    I suppose there are women in the world as empty as the instantly beddable Maxim babes the producers habitually drape around their boys, but it would help to give them even something stupid to say -- it strikes a wrong note, this neo-retro sexism, even if it accurately reflects the world view of the characters or, indeed, their actual world. It's a failing that even the presence of Debi Mazar (great, as always) as Vince's publicist and the intriguing Samaire Armstrong (from "The O.C.") as Eric's budding love interest does not redeem. [17 July 2004, p.E1]
    • Los Angeles Times
    • 71 Metascore
    • 50 Robert Lloyd
    Given the technical excellence of the production, your reaction will vary on your liking for the kind of people the filmmakers have chosen to focus on.... Nevertheless, after watching something like half the season, they strike me as unbearably tiresome and uninteresting.
    • 66 Metascore
    • 50 Robert Lloyd
    Neither the script nor the production is substantial enough to make the story quite stand on its own.
    • 67 Metascore
    • 50 Robert Lloyd
    Some of it is very enjoyable, some of it is silly but still enjoyable, some of it is too silly to be enjoyable, some of it is not silly enough to be enjoyable, and some of it is neither here nor there.
    • 69 Metascore
    • 50 Robert Lloyd
    If it never rises above the artificial, it is not entirely without entertainment value--artificiality itself has its pleasures. It may not be worth the price of the subscription, if you don't already have one, but that is a decision you will have to make for yourself, viewer.
    • 56 Metascore
    • 50 Robert Lloyd
    Polished and lively, it is also simplistic, melodramatic and half-baked — though it clips along nicely enough that you may not notice.
    • 62 Metascore
    • 50 Robert Lloyd
    Certainly, if the question is, can you make a dark, slightly depressing series starring the Muppets, the answer, obviously, is yes. Is this an inappropriate use of the characters? I don't know. Is it strange? Certainly.
    • 59 Metascore
    • 50 Robert Lloyd
    Given the dark flavor of Shaun Cassidy's adult TV creations and his own experiences within the music machine, Ruby feels surprisingly ordinary and uninformed, put together out of scraps from the old sitcom drawer.
    • 58 Metascore
    • 50 Robert Lloyd
    It's a bit of a frustrating mixed bag, Superstore, on which I blow hot and cold from scene to scene. The cast is strong.... but it also feels unfocused and unformed.
    • 61 Metascore
    • 50 Robert Lloyd
    he two episodes offered for review, "Food Revolutionaries" (including Auguste Escoffier, Julia Child and Clarence Birdseye) and "Carnivores," hop around within their subjects with no particular direction, but lots of anecdote and opinion; the tone is hopelessly antic, marked with animations and sound effects and never landing on any image for longer than it takes to take it in.
    • 36 Metascore
    • 50 Robert Lloyd
    Rays of charm do break through the haze of the ordinary and obvious, even if just for a line or a line reading.
    • 42 Metascore
    • 50 Robert Lloyd
    Like "Martha," in which she is required to appear interested in celebrities and to whip up the crowd, "The Apprentice" is not a perfect fit.
    • 44 Metascore
    • 50 Robert Lloyd
    It is not a train wreck; it's just a train--chugging along from A to B, carrying the people, delivering the freight.
    • 59 Metascore
    • 50 Robert Lloyd
    Both the documentary footage and the staged footage set in 2033 smack of a generous budget; it’s easy on the eyes. But though the alternating elements get equal time, they aren’t equally interesting, and the series is engaging and frustrating by turns.
    • 68 Metascore
    • 50 Robert Lloyd
    The film aims for a dry authenticity that only fractionally reflects the big, wild volume on which it's based, cutting away nearly all of its poetry and most of its madness.
    • 47 Metascore
    • 50 Robert Lloyd
    Once known, this fact [the series is based on the lives its creators] lends to the project an authenticity that might not otherwise be apparent, so steeped is it in the rhythms and conventions of the 20th century sitcom.
    • 44 Metascore
    • 50 Robert Lloyd
    [Slater's] new show also needs to find its voice. Still, if there is something in its premise that recalls the straining-for-effect, too-clever-to-start setups of series like USA's "Psych" and "Suits," the first of those managed to run eight seasons in the end, and the latter has already been renewed for a fourth.
    • 57 Metascore
    • 50 Robert Lloyd
    I didn't find much of it funny, but on a kind of purely analytical level I can see how the jokes are supposed to work, and might well work on some.
    • 39 Metascore
    • 50 Robert Lloyd
    Neither a disaster nor a triumph.
    • 61 Metascore
    • 50 Robert Lloyd
    At times the production can seem underbudgeted, the direction overwrought. Here and there, the dialogue sounds as if it had been written by an alien who picked up English from broadcasts of B-pictures. As the series' resident alien, Charles Dance--both as a disembodied and later an elaborately embodied, commanding voice--gets the best of this business.
    • 61 Metascore
    • 50 Robert Lloyd
    The only experiment actually being done here is the ongoing one of determining just how long people will watch this sort of thing. That is an experiment with no end in sight.
    • 21 Metascore
    • 50 Robert Lloyd
    While there's nothing particularly wrong with Do Not Disturb, neither is there anything so inspired as to make you leap to your feet, crying, "Yes! This is what television needs! More workplace comedies! More hotels!"
    • 64 Metascore
    • 50 Robert Lloyd
    The historical documentaries are more successful than the cultural ones, for having a better story to tell, but all are made in a similar style, without written narration, driven by news clips and interviews (with scholars, participants and celebrity rememberers, Hanks naturally included).
    • 43 Metascore
    • 50 Robert Lloyd
    It is easy to buy [Heigl] in these more casual moments, especially given quiet, excellent support by Sheila Vand, Cliff Chamberlain and Tommy Savas as her fellow (though hierarchically inferior) co-analysts.... [But] The more amped-up the action and the more tangled the weave of its web is revealed to be, the more hilarious State of Affairs becomes.
    • 51 Metascore
    • 50 Robert Lloyd
    That the story... snakes around a lot, tossing supernatural red herrings in its wake, keeps it oddly compelling, even as it grows increasingly preposterous, not only as regards the supernatural but as to how people really act.
    • 81 Metascore
    • 50 Robert Lloyd
    The film as a whole is a strange case of mostly excellent parts that make an overlong and tedious whole.
    • 64 Metascore
    • 50 Robert Lloyd
    As a professionally discerning adult, I could not help but notice that the characters are fairly stock, the situations familiar and, some nifty digital backgrounds notwithstanding, the production continually felt more like an elaborate game of let's pretend than it did a window into some real other world. I didn't buy a second of it.
    • 41 Metascore
    • 50 Robert Lloyd
    The deal you make with a series like this is, if it doesn't ask too much of you, you won't ask too much of it.
    • 48 Metascore
    • 50 Robert Lloyd
    Every so often the production does wake up, with a sudden brawl or assassination attempt--these scenes at least have energy and sometimes emotion--before settling back into a state of mildly agitated, interwoven intrigue.
    • 45 Metascore
    • 50 Robert Lloyd
    There is a professional, even a grim efficiency to the jokes.... There are breast jokes, genital jokes, a long oral sex joke, an alcoholic-sorority-girl-defecating-in-a-closet joke. A few hit, many miss.
    • 38 Metascore
    • 50 Robert Lloyd
    It's a somber, often leaden affair, beset with stiff dialogue.
    • 37 Metascore
    • 50 Robert Lloyd
    If Rosewood is unremarkable, there is still a place for unremarkable television in the mental life of the culture. (Creator Todd Harthan worked on USA's amiable, undemanding "Psych.") And if Chestnut and Ortiz don't exactly burn up the screen, they are not hard to take, like the show they live in.
    • tbd Metascore
    • 50 Robert Lloyd
    It is not the show for which Lucas and Walliams will be remembered; it is more amusing than hilarious, and at times not funny at all. But fans should be fitfully rewarded.
    • 48 Metascore
    • 50 Robert Lloyd
    Sadly, these factors [Kevin Nealon, Catherine O'Hara and puppet animation] only amplify my disappointment in what, on the basis of one episode and a handful of clips, looks to be a weak and wheezy show.
    • 74 Metascore
    • 50 Robert Lloyd
    As an attempt to tell the truth about an attempt to tell the truth about the state of domestic relations in a time of changing values, Cinema Verite fails--it cannot help but fail--as anything but a platform for some interesting performances and a few explicitly, loudly and briefly argued ideas about where one should draw the line when you point a camera into innocent people's lives.
    • 58 Metascore
    • 50 Robert Lloyd
    The series works best when it stays clear of the issues and concentrates on individuals, acting as people do. (This was true of "Mad Men" too, after all.) The more strongly it indicates the era, the more it resembles an old episode of "Dragnet."
    • 58 Metascore
    • 50 Robert Lloyd
    If for the most part this Treasure Island does not shiver my timbers, at a running time of three hours (four with ads), some things are bound to work, if only by the law of averages.
    • 47 Metascore
    • 50 Robert Lloyd
    By current standards the show isn't particularly graphic or brutal and, indeed, works best the closer it comes to comedy and romance. When it tries to go deep or dark, it feels overwritten and overwrought; as light entertainment, it's passably diverting, not without charm.
    • 66 Metascore
    • 50 Robert Lloyd
    Though Baron Cohen is clever and amusing and quick on his feet, his humor boils down to a few endlessly repeated gambits: malapropisms, misunderstandings, and outrageousness in the guise of innocence. [17 July 2004, p.13]
    • Los Angeles Times
    • 51 Metascore
    • 40 Robert Lloyd
    What they do have in common is wintry Canadian weather, a general lack of humor without having much serious to say and the fact that they are not particularly scary.
    • 50 Metascore
    • 40 Robert Lloyd
    Almost everything that happens on camera here, outside the therapy sessions, feels uncomfortably contrived.
    • 79 Metascore
    • 40 Robert Lloyd
    It delivers mixed signals. Because the language is elevated, the production assured and the acting fine, it can feel that something important is happening. But perhaps there is less here than meets the eye; maybe it's just a tricked-up mystery show. It comes on like satire, but it's too scattershot, too inconsistent, too over the top to make any significant points.
    • 37 Metascore
    • 40 Robert Lloyd
    Some of it might have been written by a computer, sure, but a better class of computer than sometimes is hired to write for TV. The cast, which also includes D.L. Hughley as a psychologist, Maya Erskine as a nurse and Jamie Kennedy as an unkempt, somewhat obnoxious doctor (softened in later episodes), is pleasant company.
    • 44 Metascore
    • 40 Robert Lloyd
    Most of the actors, who admittedly don't have much to work with, seem to be visiting rather than inhabiting their parts....All in all, a trip to the zoo will serve you better.
    • 65 Metascore
    • 40 Robert Lloyd
    Though it is expertly made, with evident commitment and passion and art behind and before the camera, I also found it on the whole frustrating and unsatisfying. ... It feels that only half a story, the grim part, is being told.
    • 55 Metascore
    • 40 Robert Lloyd
    The plot of the pilot, which begins with the discovery of a severed leg in a load of shrimp, is clever enough and manages to fit a lot of locations into its 40-minute hour. That time is also filled with cornball dialogue, shameless sentimentality and B-movie displays of toughness.
    • 46 Metascore
    • 40 Robert Lloyd
    A summery crime-soap, just complicated enough to be diverting without taxing brains addled by the sun. ... I can't exactly recommend it, and yet I must admit I watched many more episodes than was strictly necessary to write this review.
    • 61 Metascore
    • 40 Robert Lloyd
    Sinise, a real movie star and the co-founder of Chicago's famed Steppenwolf Theatre, is a fine actor, and so are they all, all fine actors. But none has much to do here -- the dialogue makes "Dragnet" seem positively chatty.
    • 42 Metascore
    • 40 Robert Lloyd
    One wants to like the show on Tipton's behalf, but there is no real spark between her and designated future boyfriend Peter (Jake McDorman). And Peter's own thoughts show him to be kind of a jerk — more of a jerk, I imagine, than we are meant to think him.
    • 40 Metascore
    • 40 Robert Lloyd
    While it's quite watchable if you don't expect much from it, and while even though the cast is good company... the show is not vivid or daring enough to overcome one's sense of having seen it all before.
    • 48 Metascore
    • 40 Robert Lloyd
    Undemanding viewers (not a judgment) may find Containment diverting nonetheless. If nothing here seems the least real, the series' flaws, from its underpowered budget to its overripe dialogue, are those of innumerable, sometimes beloved B-, C- and D-grade pictures before it — not excluding the high-toned epigrams, from Socrates and Matthew and such that introduce each episode with a sheen of classy meaning.
    • 35 Metascore
    • 40 Robert Lloyd
    Whenever Chelsea Handler is on screen in the new NBC comedy Are You There, Chelsea?, in which she plays not the title character but her sister Sloan, we see the hint of the better sitcom it wants to become.
    • 38 Metascore
    • 40 Robert Lloyd
    Walsh, an actress who has only grown more interesting with time, is worth watching, even as the show grows slack beneath her.
    • 47 Metascore
    • 40 Robert Lloyd
    Through the tommy-gun edits, paced to create a sense of Fun! and Excitement! the forced marches and arranged meetings, one gets an occasional glimpse of real people having some form of a real experience, and exchanging sincere thoughts.
    • 45 Metascore
    • 40 Robert Lloyd
    Though a stray remark of substance here and there escapes into the narrative, the six-part series, which premieres Sunday, has nothing much serious on its mind.
    • 52 Metascore
    • 40 Robert Lloyd
    As a stage actress, there was no way to regard [Underwood] as anything but an amateur--good enough, certainly, to convey the meaning of her lines, and sometimes better than that, but lacking weight and substance and the shadings she can bring to a song.... Stephen Moyer had the anger and the stiffness the role certainly requires, but not the humor it needs.... It was helpful, if you wanted to help, to regard this as really terrific community theater, rather than something professional and less than successful.
    • 42 Metascore
    • 40 Robert Lloyd
    While some jokes land, and some characters hint at what they might do once they get something to do, the show--which is to say, the pilot--never really lights up.
    • 48 Metascore
    • 40 Robert Lloyd
    It feels thin, mechanical and confused.
    • 57 Metascore
    • 40 Robert Lloyd
    For all its apparent technical accuracy and some real-world name-dropping, "Justice" feels no more lifelike than "Perry Mason."
    • 19 Metascore
    • 40 Robert Lloyd
    Apart from the Oedipal twist, it seems to be pretty much your standard "Bachelor"-style hookup show, the women all bunged up together in a fancy dormitory.
    • 21 Metascore
    • 40 Robert Lloyd
    Knight Rider is something for 12-year-old boys (and 12-year-old-boys at heart), undemanding, unsophisticated, no deeper than the thickness of a comic-book page.
    • 63 Metascore
    • 40 Robert Lloyd
    The fate of the kids on the ground is closely bound with the fate of the people in orbit, and vice versa. But it is hard to care about the people in orbit, as seriously as you're asked to take their predicaments and sacrifices. And it is not much easier to care about the people on Earth.
    • 41 Metascore
    • 40 Robert Lloyd
    Mr. Robinson is not horrible; or when it is, it is only in passing. (The cast is good, there are some laughs.) It just feels weak and fatally retrograde.
    • 48 Metascore
    • 40 Robert Lloyd
    It has the aggressively prettified look, rather, of an ad for beer or a new Ford truck, and you sense that you are being sold something, rather than told a story, let alone the truth.
    • 55 Metascore
    • 40 Robert Lloyd
    [Josh Gad's] an adroit actor, and his breathy, singsongy way with Skip feels original, until it feels tiring--as that there's just a lot of him here. He obscures the view, or becomes it, and he can make the rest of the show seem sort of beside the point.
    • 63 Metascore
    • 40 Robert Lloyd
    None of this ever threatens to break into an interesting character study or story or examination of ideas.
    • 55 Metascore
    • 40 Robert Lloyd
    Full-fledged human beings are slow to emerge; the characters are long on attitude but short on detail.... The show could use some of the quirkiness that has enlivened Kelley shows such as "Picket Fences" and "Boston Legal."
    • 40 Metascore
    • 40 Robert Lloyd
    Once in a while, he sounds like a little boy. This much works, but whether it can sustain a series is a fair question.
    • 40 Metascore
    • 40 Robert Lloyd
    One would say that on balance they were chosen for their singing, which was faultless, rather than their acting, which in some cases felt stiff even as it was obviously impassioned; on the other hand, the acting didn't take up much screen time.
    • 56 Metascore
    • 40 Robert Lloyd
    Glazer has built a beautiful edifice here, but he still needs to get some life into the place.
    • 50 Metascore
    • 40 Robert Lloyd
    Set now in New York, instead of Los Angeles, it is just more of the insane same--insaner, if anything--in a slightly nicer suit. As with John Heard, the ringer in the first installment, the picture manages to bring everyone in it down to its level. Or close enough.
    • 41 Metascore
    • 40 Robert Lloyd
    With a host of performers skilled in delivering Big Effects, the evening regularly delivered top-grade professional pop music, though it was rarely thrilling in a way that made you reconsider an act or decide to change your life.
    • 59 Metascore
    • 40 Robert Lloyd
    The production values are extremely high. This may be trash, but it comes in an attractive can.
    • 72 Metascore
    • 40 Robert Lloyd
    There are good things in it, some well-written scenes and dynamic exchanges and excellent acting... But, ultimately, it doesn't cohere or quite convince.
    • 49 Metascore
    • 40 Robert Lloyd
    Watching it, you feel as if you have seen it all before, and will again, until eternity ends.
    • 57 Metascore
    • 40 Robert Lloyd
    More often it is labored and belaboring, from the eccentric station-house staff--including Abraham Benrubi, wearing Willie Nelson's old pigtails, as a Chickasaw desk sergeant, and DJ Qualls as a slack-jawed Cletus of a patrol officer--to the Elvis imitators on the street and Dwight's constant promotion of Memphis as "sacred ground" to people who, after all, live there too.
    • 31 Metascore
    • 40 Robert Lloyd
    It's in the fleeting moments that the characters demonstrate affection for each other that the show hints at the better show it might become--as when (Anglo) ex-wife (Jenn Lyon) begins to help George dye his hair for a night in the dating pool. But then comedy intrudes, and she exits, stage right.
    • 45 Metascore
    • 40 Robert Lloyd
    This Prisoner is as much about Two as it is about Six and that the actor seems to be enjoying himself makes his scenes pleasant to watch even when they don't add up to much; there is a music to his readings even when the lines are obscure.
    • 38 Metascore
    • 40 Robert Lloyd
    Like a Hallmark card, it is a thing of prefabricated sentiment.
    • 41 Metascore
    • 40 Robert Lloyd
    The show that premieres Sunday night, between "The Simpsons" and "Family Guy" in the space formerly occupied by "King of the Hill," is weak--not hopeless, but given the pedigree, heavily disappointing.
    • 39 Metascore
    • 40 Robert Lloyd
    Notwithstanding a few apparently real tears and a bleeped expletive spoken in possibly real anger, the show is made of clearly concocted crises nearly from takeoff to landing, with little to offer beyond a long, though not penetrating, look at its attractive leads.
    • 43 Metascore
    • 40 Robert Lloyd
    All in all, it is pretty thin and flat; there are jokes that work, and the cast is able, but not in the service of anything substantial.
    • 44 Metascore
    • 40 Robert Lloyd
    It's funny at times, as it would almost have to be. But it's more often vexing, like an out-of-tune guitar.
    • 59 Metascore
    • 40 Robert Lloyd
    The producers are so focused on creating and highlighting conflict that after a while, as with the boy who cried wolf, you would just like everyone to shut up and be eaten.
    • 33 Metascore
    • 40 Robert Lloyd
    Apart from some subtle work by Christensen, the series doesn't have much of interest to offer or fresh to say.
    • 60 Metascore
    • 40 Robert Lloyd
    The episode galumphs loudly across a checkerboard of scenes -- Stark at work, Stark at home, Stark at work at home -- that achieve neither the convincing quality of detailed realism nor the dumb fun of untethered melodrama.
    • 59 Metascore
    • 40 Robert Lloyd
    Housewives D.C. offers neither a portrait of Washington insider society, to which its stars have no access, or even an unvarnished look at any person's real life. People are more complicated than this, and (for much of the day) more normal--what in this context would be called "boring."
    • 46 Metascore
    • 40 Robert Lloyd
    The film goes along quite well, with the usual grabs and gotchas no less effective for being so familiar, as long as no one is talking.
    • 64 Metascore
    • 40 Robert Lloyd
    Though it starts out with a fair bit of energy, in spite of regular paroxysms of royal lust and pique, it becomes less engaging as it goes on and grows finally rather dull.
    • 46 Metascore
    • 40 Robert Lloyd
    Shedding for the Wedding is a plate-load of empty calories, a lot of huffing and puffing we're meant to take as compelling even though there's little compelling in the presentation; it is just speedy.
    • 52 Metascore
    • 40 Robert Lloyd
    Deception, in trying for something more "real" and not quite getting there, feels fake. There is little chemistry between the people who are supposed to have it.
    • 53 Metascore
    • 40 Robert Lloyd
    Jesus hits a few of his main talking points (first stone, do unto others, turn cheek), but only a fraction and not the most subtle of them. And neither Sleiman nor the script nor director Christopher Menaul lifts the story off the ground.
    • 55 Metascore
    • 40 Robert Lloyd
    The characters manage to get themselves into a lot of trouble, and the show is genuinely suspenseful at times, as shows will be when guns start to wave. But it's hard to care, even after having seen six out of 10 episodes, about anyone's fate. Neither their tales of early or current sorrows nor their displays of aesthetic sensibility nor even their expressions of shame quite balance out the fact that most are kind of bad people, mostly out for themselves.
    • 37 Metascore
    • 40 Robert Lloyd
    This may be how it is among the backpacking young nowadays; surely, we are meant to see them as passionate, in their individual ways. Yet the whole business feels a little shallow.
    • 65 Metascore
    • 40 Robert Lloyd
    "Carnivale"... moves like molasses and, for all its careful creepiness, generates very little actual suspense and precious few moments of unpredictable wonder.
    • 48 Metascore
    • 40 Robert Lloyd
    There is something mechanical and arbitrary about the plotting, as if a mess of gears that didn't actually go together had been smashed into some semblance of a working order.
    • 48 Metascore
    • 40 Robert Lloyd
    It is the sort of neither-here-nor-there sitcom that can make me feel faintly sad for the form, and by extension for the health of the nation, and yet it is no worse than so many others that come and go and sometimes, to my surprise, come and stay.
    • 54 Metascore
    • 40 Robert Lloyd
    A production that tends to make everything look artificial, that freezes the air between the characters and keeps them distant.
    • 43 Metascore
    • 40 Robert Lloyd
    While the show, which is broadcast live, hit most of its marks logistically, and was busy and noisy enough to keep a viewer's attention, it often felt half-baked.
    • 63 Metascore
    • 40 Robert Lloyd
    Ironically, given a show that so clearly wants to touch its audience--from that weighty one-word title on down--we have met, apart from Martin, hardly a single character who incorporates more than the hint of an actual person.
    • 75 Metascore
    • 40 Robert Lloyd
    A more than usually steamy "Jane Eyre," it seems to have been made especially to appeal to viewers whose week peaks with "Grey's Anatomy." ... And yet, despite these passages, the production overall comes off as a little dry and dutiful.
    • 45 Metascore
    • 40 Robert Lloyd
    The Bible according to Burnett and Downey is a handsome and generally expensive-looking production, but it is also flat and often tedious, even when it tends to the hysterical, and as hard as the Hans Zimmer soundtrack strains to keep you on the edge of your sofa.
    • 40 Metascore
    • 40 Robert Lloyd
    Sunday night I mostly felt I was watching funny people being less funny than they are in their day jobs. What should have appeared spontaneous came off, even when it clearly was spontaneous, as worked-over, the fun seemed insisted upon.
    • 50 Metascore
    • 40 Robert Lloyd
    The show, which goes, in its small parts and large arcs, where so many have gone before, is easy to mock. Yet within its bounds and even its baldly obvious analogies and soft political points, it is effective enough.

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