For 487 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 1.4 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

  • TV
Average review score: 63
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 24 out of 487
487 tv reviews
    • 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).
    • 63 Metascore
    • 60 Robert Lloyd
    Still, for all the unlikely things the Gaytons make happen in order to get their characters into place, and the dogged refusal of a couple of those characters to become interesting at all, the show gathers steam as it goes on.
    • 58 Metascore
    • 60 Robert Lloyd
    None of the characters--including the usual smart hot girl, mean hot girl and mean hot guy--range beyond well-established types, and the show would have to stand on a chair to aim any lower. But it is mostly sweet-tempered and oddly moral, and, as I write these words, I do not hate it.
    • 62 Metascore
    • 60 Robert Lloyd
    New show runner Joshua Safran has, in any case, declared himself a fan of the show, promising changes more surgical than wholesale, a promise disappointing in its way. Nevertheless, he has trimmed much deadwood.
    • 60 Metascore
    • 60 Robert Lloyd
    Much about the pilot felt flat or programmatic to me, but much was likable as well, especially the nonchalant tenderness between the male leads. And the cast is good.
    • 51 Metascore
    • 60 Robert Lloyd
    Whatever else you make of it--and it's enough to say that if you like this sort of thing, you will like this thing--it's all, or partly, for a good cause.
    • 55 Metascore
    • 60 Robert Lloyd
    Though it is flat and obvious at times, and some might call it ill-paced--I think of it as leisurely--it is only a little sanctimonious and not at all stuffed.
    • 50 Metascore
    • 60 Robert Lloyd
    [Scott Baio's] naturally relaxed presence mitigates the show's more hectic leanings.
    • 61 Metascore
    • 60 Robert Lloyd
    The celebration and surrender are enough to put the viewer in a vicarious good mood, no matter how unconvincing its context.
    • 77 Metascore
    • 60 Robert Lloyd
    There are enough interesting ideas inherent in the material to warrant giving The Americans a chance, and interesting enough ideas that one wishes a little more attention were being paid to them, and a little less to the usual spy-jinks.
    • 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.
    • 63 Metascore
    • 60 Robert Lloyd
    An expectation of failure is built into the comedy, so that at times the contestants are funny only in the attempt to be funny. At other times, given the circumstances, it may seem miraculous that they can be funny at all.
    • 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]
    • 64 Metascore
    • 50 Robert Lloyd
    Though the TV version catches some of the tone and replicates the topicality of the big-screen originals, and shares executive producers, it lacks their grounded reality -- not too surprising, really, for a work of fiction based on a work of fiction -- as well as their warmth. [12 Aug 2005, p.E2]
    • 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.