For 532 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 1.7 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 63
Highest review score: 100 Homeland: Season 2
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 25 out of 532
532 tv reviews
    • 58 Metascore
    • 70 Robert Lloyd
    While the series, which opens with a ship being boarded and taken, does have its moments of big, noisy action (see: Michael Bay, above), it spends a lot of time on land, as well, with the main characters taking care of business, making plans, laying traps and working on their surprisingly complicated personal relationships. There is also, tedious to relate, an abundance of female nudity.... Other than that, Black Sails' depiction of daily life among the pirates is plausibly authentic and workaday, and the Nassau through which they roam feels real and well-peopled.
    • 61 Metascore
    • 70 Robert Lloyd
    [Meyers] was shaky only fleetingly. He stuck his landings. He was cool, but clearly having fun.
    • 65 Metascore
    • 70 Robert Lloyd
    As at the Friars, the humor gets low at times, but the characters themselves do not; which is not to say that they keep their dignity. The conversation is long on riffing and syntactically comical constructions.
    • 71 Metascore
    • 70 Robert Lloyd
    The Address is ragged and homely; it feels homemade, even amateurish at times.... But it is full of life and feeling; its rawness suits the subject, and helps rather than hinders Burns' cause.
    • 53 Metascore
    • 70 Robert Lloyd
    The characters are more affectionate than antagonistic. They are dim, but mostly not dumb, countering what we have come to expect from portrayals of the middle- or working-class people of Boston.
    • 63 Metascore
    • 70 Robert Lloyd
    Once you accept that you are in for a certain kind of joke repeated over and over again — or three kinds of jokes, if you include those regarding the deterioration of mind and body and those about kids these days — and settle in to the show's rhythms, you find yourself, paradoxically, laughing more easily.
    • 71 Metascore
    • 70 Robert Lloyd
    Fortunately, Gamble and Hoggart can be quite funny in their pretended confusion. Their strategies are sometimes too obvious, but often the humor takes a nicely absurdist turn.
    • 64 Metascore
    • 70 Robert Lloyd
    Though it is not exactly in the spirit of the original, it should satisfy any "Boy" fans eager to see it.
    • 68 Metascore
    • 70 Robert Lloyd
    I am not yet sold, but I will stick around a while to see what this future holds.
    • 59 Metascore
    • 70 Robert Lloyd
    Little happens in the two episodes I've seen that could not be mathematically extrapolated from the premise.... yet it works pretty well. The actors are generally charming.
    • 62 Metascore
    • 70 Robert Lloyd
    The flavor is high-style retro-modern, high-style B-picture.
    • 60 Metascore
    • 70 Robert Lloyd
    The action is active, the suspense tense, the actors game. It seems a little silly at times, but meet it halfway and the hour passes painlessly.
    • 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.
    • 73 Metascore
    • 70 Robert Lloyd
    The first episode is the weakest of the three I've seen, with some good moments but too couched in the nominal premise of struggling performers trying to make it in show business. The sex humor feels similarly conventional. Things quickly improve, however, as the women get stranger and more idiosyncratic.
    • 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
    McKenzie's best moments are all spent in his [new partner Harvey Bullock's (Donal Logue)] company. Bullock loosens him up even as Bullock puts him off, signaling that their uneasy partnership will become an easier one. He performs a similar service to the whole production, bringing it down to earth, keeping it from becoming too much of a comic-book gizmo with its wash of rain grays and rot rusts and spittoon bronzes and Frank Miller lighting effects.
    • 72 Metascore
    • 70 Robert Lloyd
    It's almost as if, like its testosterone-fueled fighters, the show loses its mind every once in a while and just has to punch something, and punch it and punch it and punch it. Between these attacks, however, it relaxes into well-written scenes in which the wounded characters express ideas and feelings other than rage.
    • 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.
    • 76 Metascore
    • 70 Robert Lloyd
    It chokes a bit on its own whimsicality. But it stays on its feet.
    • 68 Metascore
    • 70 Robert Lloyd
    Though the result can be obvious, even cornball, at times, the show--which is smart enough, often enough--works.
    • 51 Metascore
    • 70 Robert Lloyd
    The mechanics of the cases (again, par for the genre) might squeak or grind here or there, but Backstrom really stumbles only when it strains too hard for seriousness--and it is not a fatal fall, in any case.
    • 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.
    • 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.
    • 67 Metascore
    • 60 Robert Lloyd
    Nevertheless, this is a kind of American classic that goes right against the grain of what cartoons are supposed to be.
    • 70 Metascore
    • 60 Robert Lloyd
    A pretty good new series.
    • 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.
    • 44 Metascore
    • 60 Robert Lloyd
    As with most things Wolf, it is superbly cast, almost too well... But every small role is well cast too -- the judges, the defendants, the policemen. They help create a lively world that's more believable than it sometimes deserves to be, and it is almost always engaging.
    • 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.
    • 65 Metascore
    • 60 Robert Lloyd
    It's a comic book, basically, a B-movie, a pulp fiction, and low enough in the cultural reckoning of things to set its own rules with impunity.... Part of the pleasure of the series is that particular pleasure of watching a super-heroic character who can't fail.
    • 43 Metascore
    • 60 Robert Lloyd
    It's too schematic by half, the banter rarely ascends to the level and wit, and it contains barely a believable moment... but it is not without a certain energy and cast-based charm.

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