For 654 reviews, this critic has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this critic grades 2.2 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 64
Highest review score: 100 The Returned: Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 29 out of 654
654 tv reviews
    • 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.
    • 73 Metascore
    • 70 Robert Lloyd
    I would encourage you to keep watching "Mozart in the Jungle" ... past its so-so, sometimes off-putting pilot. It gets good thereafter — very good.
    • 65 Metascore
    • 70 Robert Lloyd
    It is in some respects a three-hour sketch, but one made with attention to detail and an effective emotional through-line.
    • 71 Metascore
    • 70 Robert Lloyd
    The new series, to judge by the two opening hours, is better balanced and plays more to the players' strengths.
    • 67 Metascore
    • 70 Robert Lloyd
    Copper has come to entertain, not to educate, and it discharges that duty well.
    • 65 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
    The show is indeed diverting. Nothing surprising, but pretty consistently interesting and as easy to watch as any invented procedural.
    • 49 Metascore
    • 70 Robert Lloyd
    In a world without cable dramas, Chicago Fire would be considered television at its more compelling and realistic. As it is, it walks the line between shameless entertainment--hot guys, hot girls, the fires within, the fires without--and intelligent storytelling.
    • 58 Metascore
    • 70 Robert Lloyd
    It is tonally odd yet quite likable.
    • 69 Metascore
    • 70 Robert Lloyd
    Wilmore was off to a good start Monday night--a little muted, which is his style anyway, and a little tentative, as would be expected. But he landed some punches and clearly had more than a little fun.
    • 71 Metascore
    • 70 Robert Lloyd
    Once you get past the relatively stiff opening episode and everyone relaxes and starts having fun, "Hustle" is an undemanding good time that manages to rack your nerves even when you know better.
    • 67 Metascore
    • 70 Robert Lloyd
    If it doesn't match "Battlestar" for ambition or poetry or sparkling dialogue--to judge by the three hours available for review--it's well-made, solidly scary and disturbing all the same.
    • 78 Metascore
    • 70 Robert Lloyd
    The script can seem both a little precious and a little obvious at times, dropping references to Pandora's box, the golem, Einstein's definition of insanity and Schrödinger's cat. But all in all, it works.
    • 70 Metascore
    • 70 Robert Lloyd
    The closer you are to living with an addict or an addiction, the more essential you'll find this viewing, obviously, but the less personally involved will still find much of scientific and human interest.
    • 54 Metascore
    • 70 Robert Lloyd
    The premiere is nonetheless diverting, if not immediately impressive, and there are nice rhythms and sharp asides and some other things to be said in its favor: It's a show about the working class - or perhaps better put, the barely surviving entrepreneurial class - that is actually about work.
    • 66 Metascore
    • 70 Robert Lloyd
    Some will feel right at home here right away; and some will be in bed by then. For the rest, it's worth investing in a few episodes to get used to the milieu and the music; though the humor stays rough, the show feels sunnier as the company grows more familiar.
    • 63 Metascore
    • 70 Robert Lloyd
    Whether all, or indeed any, of the subjects here are actually "iconoclasts" is debatable -- "independent" is more like it -- but the title is meant to signal that this is something hipper and smarter and less conventionally angled than a Barbara Walters special and, at least on the basis of the two episodes available for review, it is.
    • 48 Metascore
    • 70 Robert Lloyd
    Eventually the mood relaxes, even as the slapstick amps up, and what may prove to be a charming comedy begins to emerge.
    • 64 Metascore
    • 70 Robert Lloyd
    It is so well-assembled and well-played that its contrivances and clichés play like something reasonably close to life.
    • 75 Metascore
    • 70 Robert Lloyd
    The series is at its most convincing, and most beautiful, at its most static. When the show bursts into action, or insists upon making its characters intense and extraordinary--some of them fictionally take credit for real-world medical advances and inventions--it grows, paradoxically, proportionally less interesting.
    • 71 Metascore
    • 70 Robert Lloyd
    I recommend the series, though Sunday's opening film, "Sidetracked," does present a bit of a stumbling block.
    • 54 Metascore
    • 70 Robert Lloyd
    In most other respects, it is a standard three-camera sitcom, in which two bickering siblings in their mid-30s (Mitchell and Strahan) find themselves back living with their parents (Weathers and Pounder). Which is not to call it run-of-the-mill--it has some charm and personality and keeps its focus unusually tight on the four principals.
    • tbd Metascore
    • 70 Robert Lloyd
    It is often fun, even when it is not funny.
    • 79 Metascore
    • 70 Robert Lloyd
    The show's attitudinal mix of the jaded and amazed, the shocked and amused, is supported by the production itself.
    • 70 Metascore
    • 70 Robert Lloyd
    It's in that "perhaps" and "possibly" that Ashes to Ashes finds a way forward, and although it's not as good as the original, it pushes many of the same buttons and sews on a few new ones. It's quite enjoyable.
    • 69 Metascore
    • 70 Robert Lloyd
    The comedy offsets (and benefits from) both Spader's innate creepiness and Shatner's innate hamminess, and it is where producer David E. Kelley's own talents lie.
    • 59 Metascore
    • 70 Robert Lloyd
    There's much here to suggest that, if everyone relaxes a little, good things will come.
    • 64 Metascore
    • 70 Robert Lloyd
    Although the series is not as philosophically unsettling or politically unpredictable as his stage comedy, which gambols in the depths of human self-deception, it is unusually topical and thematically pointed for a people-on-a-couch comedy in the year 2015.
    • 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.
    • 60 Metascore
    • 70 Robert Lloyd
    For all that it strives at times to push a big theme, it remains best taken as colorful light entertainment. There are some nice performances and moments (especially among the Carpenters and the Shepards and the Coopers), increasingly as the show goes on, when the marriages seem complicatedly real.

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