For 781 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 Lady Dynamite: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 781
781 tv reviews
    • 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."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 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.
    • 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
    • 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.
    • 58 Metascore
    • 60 Robert Lloyd
    A long ride to nowhere but with some nice scenery and exciting turns along the way.
    • 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.
    • 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.
    • 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.
    • 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.
    • 28 Metascore
    • 60 Robert Lloyd
    It may be seen as a kinder, gentler, funnier cousin to Fox's bitter " 'Til Death."
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 57 Metascore
    • 60 Robert Lloyd
    Melodrama has its pleasures, and some viewers will doubtless happily be caught in the stories’ myriad threads. And some performances win out over the material, most notably Rosemarie DeWitt as Brady's wife, Rose, who feels complicated and touching and human with whatever dramatic heavy lifting she's asked to do.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.

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