For 798 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: 66
Highest review score: 100 The Office (UK): Season 3
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 798
798 tv reviews
    • 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
    • 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.
    • 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.
    • 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.

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