For 462 reviews, this critic has graded:
  • 57% higher than the average critic
  • 6% 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

  • TV
Average review score: 63
Highest review score: 100 The Returned: Season 1
Lowest review score: 20 Twenty Good Years: Season 1
Score distribution:
  1. Negative: 22 out of 462
462 tv reviews
    • 59 Metascore
    • 60 Robert Lloyd
    As drama, it's uneven, often cliched, even silly, but, like the store in which it's set--and whose ground floor, mezzanine and facade have been splendidly re-created--so variously stocked that you will likely find something here to take home.
    • 58 Metascore
    • 60 Robert Lloyd
    It is buried in whimsicality and paeans to "feeling" and leaping into the void. And the stars do feel out of sync. (Williams is more comfortable riffing with James Wolk--"Mad Men's" Bob Benson--as... some other guy who works there.) We will give it some time.
    • 77 Metascore
    • 60 Robert Lloyd
    It has its good points and its less good points, but there's enough of the former to merit a look.
    • 56 Metascore
    • 60 Robert Lloyd
    Most of what doesn't work in the pilot happens when the production strives for a big effect or grand stroke, while all of what works best happens in the close space between the leads.
    • 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.
    • 63 Metascore
    • 60 Robert Lloyd
    There is a professional efficiency to much of the comedy. (It is funny sometimes.)
    • 55 Metascore
    • 60 Robert Lloyd
    When Believe tries to be meaningful, it's also at its most obvious, and the show could prove to be too willfully touching for its own good. But it doesn't seem impossible to me that they could get the mix right.
    • 62 Metascore
    • 60 Robert Lloyd
    It's probably enough to say that if you like this sort of thing, this is just the sort of thing you'll like. (If the tautology fits, wear it.) Rodriguez knows how this machine works as well as anyone alive. Whether such sensationalist kicks are good for us "as a people," or indeed as people in particular, is a question the culture and its guardians and gadflies have been batting around for years. A decision is not due any time soon.
    • 61 Metascore
    • 60 Robert Lloyd
    Chicagoland is a mosaic, as befits its many-cultured metropolitan setting--and for better or worse. The series moves fast to get it all in, muscling you with its Big Shoulders and too-present hip-hoppy soundtrack, giving you just enough of its characters--including kids and cops, a doctor, a rapper, a restaurateur--to make you feel you should be getting more of them.
    • 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]
    • 58 Metascore
    • 50 Robert Lloyd
    It is, to be fair, watchable enough, if watched uncritically, and not without flashes of high craft; art and inspiration are a little beyond its grasp. [3 Jan 2005]
    • 70 Metascore
    • 50 Robert Lloyd
    All of the wives are more interesting than their husband. Paxton's character remains a problem for me and, as the pole on which this tent depends, a crucial one.
    • 69 Metascore
    • 50 Robert Lloyd
    I suppose there are women in the world as empty as the instantly beddable Maxim babes the producers habitually drape around their boys, but it would help to give them even something stupid to say -- it strikes a wrong note, this neo-retro sexism, even if it accurately reflects the world view of the characters or, indeed, their actual world. It's a failing that even the presence of Debi Mazar (great, as always) as Vince's publicist and the intriguing Samaire Armstrong (from "The O.C.") as Eric's budding love interest does not redeem. [17 July 2004, p.E1]
    • 51 Metascore
    • 50 Robert Lloyd
    Although we are meant to regard its dishonest protagonists as the epitome of contemporary cool, they come off as self-satisfied and pretentious.
    • 56 Metascore
    • 50 Robert Lloyd
    Polished and lively, it is also simplistic, melodramatic and half-baked — though it clips along nicely enough that you may not notice.
    • 37 Metascore
    • 50 Robert Lloyd
    [Gilbert] seems like a real person, even in such a cartoon as this is.
    • 52 Metascore
    • 50 Robert Lloyd
    That the story... snakes around a lot, tossing supernatural red herrings in its wake, keeps it oddly compelling, even as it grows increasingly preposterous, not only as regards the supernatural but as to how people really act.
    • 64 Metascore
    • 50 Robert Lloyd
    "Threshold" is a comic book, and passable as such.
    • 45 Metascore
    • 50 Robert Lloyd
    It's a decent enough show, a soap opera essentially, playing around with heavy themes and life-changing events but lightweight enough not to make you think too hard or keep you glued to the television when you decide you want something from the refrigerator — the TV equivalent of a beach book.
    • 42 Metascore
    • 50 Robert Lloyd
    Like "Martha," in which she is required to appear interested in celebrities and to whip up the crowd, "The Apprentice" is not a perfect fit.
    • 53 Metascore
    • 50 Robert Lloyd
    Although there is nothing compelling... ["Out Of Practice" is a] professional job and not hard to watch.
    • 39 Metascore
    • 50 Robert Lloyd
    Neither a disaster nor a triumph.
    • 52 Metascore
    • 50 Robert Lloyd
    Given that it wants to seem edgy and quirky, "Saved" is remarkably rich in cliché... Still, it's no worse than average and has Tom Everett Scott in it, which is a nice thing for TV viewers.
    • 59 Metascore
    • 50 Robert Lloyd
    If "The Class" feels calculated, unrelated to life outside sitcoms, and encased in amber, it's a competent American product, ultimately, no harder to watch than, say, a Dodge is to drive.
    • 51 Metascore
    • 50 Robert Lloyd
    I, the Jury, am still out on this one; it could go either way from here.
    • 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.
    • 38 Metascore
    • 50 Robert Lloyd
    It's a somber, often leaden affair, beset with stiff dialogue.
    • 69 Metascore
    • 50 Robert Lloyd
    There are more than a few problems here.
    • 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.
    • 65 Metascore
    • 50 Robert Lloyd
    Camp Rock isn't particularly good, but it's good at what it does. The product may be "inauthentic," if such a thing is even possible, but the way it will connect with a lot of little girls and more than a few little boys is real enough.