For 511 reviews, this critic has graded:
  • 56% higher than the average critic
  • 5% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 1.6 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 63
Highest review score: 100 Louie: Season 4
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 25 out of 511
511 tv reviews
    • 67 Metascore
    • 80 Robert Lloyd
    The glamour in Pan Am may indeed be manufactured--doubly manufactured, given the re-created places and planes--but it's not empty: The show says, yes, this is as good as it looks, and it looks very good
    • 67 Metascore
    • 80 Robert Lloyd
    It's smart without either condescending to or patronizing the viewer.
    • 67 Metascore
    • 70 Robert Lloyd
    Things get pretty wacky by the end--actually, they get wacky well before the end--but however unlikely, the proceedings are kept watchable by a cast that notably includes Ian McShane, Donald Sutherland, Rufus Sewell, and Eddie Redmayne.
    • 36 Metascore
    • 30 Robert Lloyd
    The accelerating pace of the movie runs roughshod over the drama.
    • 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).
    • 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.
    • 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.
    • 67 Metascore
    • 80 Robert Lloyd
    By not belaboring the point--Ryan is not crazy, there is nothing supernatural afoot--the show stays fresh, the gimmick fades. The humor is frequently scatological or sexual, but a mitigating sweetness enfolds it all.
    • 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.
    • 66 Metascore
    • 80 Robert Lloyd
    It feels productively mysterious. The show tells you covertly a lot about the characters, building them up through bits of behavior and stray remarks that can seem contradictory at first but do start to cohere into something more complex.
    • 66 Metascore
    • 70 Robert Lloyd
    It doesn't matter, finally, what becomes of them, we watch less in suspense than in wonder: wonder at the cheek and gall of these characters; wondering how true any of it is; and wondering, most profitably, at the performances, the least of which are good and the best of which are good fun.
    • 66 Metascore
    • 30 Robert Lloyd
    The pilot episode is so cliched, predictable, obvious, devoid of humanity or even human interest that one would actually like to say nothing definitive about it, in the reasonable assumption that next week's would have to be better.
    • 66 Metascore
    • 70 Robert Lloyd
    It is loud and manipulative and ugly to behold, but it isn't dull.
    • 66 Metascore
    • 50 Robert Lloyd
    Neither the script nor the production is substantial enough to make the story quite stand on its own.
    • 66 Metascore
    • 70 Robert Lloyd
    The writing is decent, with flashes of sideways wit.
    • 66 Metascore
    • 70 Robert Lloyd
    Copper has come to entertain, not to educate, and it discharges that duty well.
    • 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
    • 66 Metascore
    • 50 Robert Lloyd
    As is often the case with melodrama, I find Revenge essentially unconvincing and also quite likable.
    • 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
    • 66 Metascore
    • 80 Robert Lloyd
    It is a smart, affable, mostly unpredictable ensemble comedy that reminds us that in the 500-channel universe, fine things can happen in unlikely places, as long as you are clever about budget, commit to a sensible number of episodes--in this case 10--write well and cast right, and that what matters ultimately to heaven is not the eminence of the venue but the quality of the work.
    • 66 Metascore
    • 70 Robert Lloyd
    You could resist it, really, as you should be able to resist all television, unless you have been completely assimilated into the matrix. But you'd be missing some sparky fun. Submit.
    • 66 Metascore
    • 70 Robert Lloyd
    What Vice offers is not deep or thorough, but it is not without value. The news comes in pieces now; to get the full picture, you have to assemble it yourself.
    • 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.
    • 66 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.
    • 66 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.
    • 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.
    • 65 Metascore
    • 80 Robert Lloyd
    The writing rings true as often as not, and the actors do not wave their arms or raise their voices unduly; they play to the human moments between the rim shots.
    • 65 Metascore
    • 80 Robert Lloyd
    Project Runway is a hard act to follow. Still, if you like watching people make (sometimes) beautiful clothes from nothing in no time--the first challenge is to make a little black dress from a little black T-shirt--The Fashion Show has that too.
    • 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."
    • 65 Metascore
    • 80 Robert Lloyd
    [Political Animals is] a high-class, relatively naturalistic, behind-closed-doors soap opera that plays in fairly obvious yet also fairly affecting ways with the space between public face and private pain and is made highly watchable by an excellent cast that finds the human among the hokum.