For 689 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 2.1 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 64
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 689
689 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.
    • 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
    • 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
    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
    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.

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