For 717 reviews, this critic has graded:
  • 58% higher than the average critic
  • 5% same as the average critic
  • 37% lower than the average critic
On average, this critic grades 2 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 64
Highest review score: 100 Lemony Snicket's A Series of Unfortunate Events (2017): Season 1
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 717
717 tv reviews
    • 92 Metascore
    • 80 Robert Lloyd
    A studiously handsome, generally impressive 10-part series.
    • 68 Metascore
    • 80 Robert Lloyd
    As predictable, or artificial, as the show can seem, when you take stock of it--even in its dark themes and situations--it is vital and inviting, fundamentally true to its characters and hard to put down.
    • 71 Metascore
    • 80 Robert Lloyd
    The dialogue has a nice snap, the jokes come from just to the left of where you expect them to, and the players are all first-rate.
    • 75 Metascore
    • 80 Robert Lloyd
    A few caricatures stick out among the characters, but the subtler conceptions, on the page and in performance, win out.
    • 75 Metascore
    • 80 Robert Lloyd
    A delightful, knockabout new sitcom.
    • tbd Metascore
    • 80 Robert Lloyd
    [An] immediately exciting new season.
    • 54 Metascore
    • 80 Robert Lloyd
    This is an origin story, and like "Saturday Night Live" sketches blown up to big-screen size ("The Blues Brothers," "Wayne's World," "Superstar," et al.), it faces the challenge of shaping a funny idea into a semblance of life, and succeeds.
    • 80 Metascore
    • 80 Robert Lloyd
    Artistically, it may be an unnecessary appendix, but I'm not complaining. More pie? I will make room somehow.
    • 68 Metascore
    • 80 Robert Lloyd
    The series' strength is that it is difficult to pin down; it zigs when you expect it to zag.
    • 78 Metascore
    • 80 Robert Lloyd
    Community continues to achieve a tricky balance of cynicism, sentiment and surreality.
    • 79 Metascore
    • 80 Robert Lloyd
    It preserves the domestically framed, socially engaged flavor of the original while mixing in new verve. And it has turned out very well: smart, fun, bighearted and less noisy and hectoring than Lear works of old could sometimes be.
    • 65 Metascore
    • 80 Robert Lloyd
    The concerned viewer will of course want him [J] to get as far away from them [the Codys] as possible, somewhere he can do his math homework in peace. At the same time, most every character gives you something to relate to; each has his secrets and cares. Executive producer John Wellsdirected the opening episodes; and the series is expertly made, and subtler than the premise suggests.
    • 79 Metascore
    • 80 Robert Lloyd
    Though neither naive nor mum about its subject's destructive complications and contradictions, his brutal youth and abuse of women, Alex Gibney's film concentrates on Brown the performer--both as a musician and as a public political personage, the voice of black pride (say it loud!) and economic self-sufficiency.
    • 77 Metascore
    • 80 Robert Lloyd
    The heroine's fearless and clever character, the self-knowledge and self-possession her tormentors lack, and her gift for survival are fixed from first to last. She is sometimes thwarted but never altered. If this makes The Book of Negroes less psychologically complex than it otherwise might be, there are real pleasures and comforts to be had from it.
    • 74 Metascore
    • 80 Robert Lloyd
    In the wonderful Family Tree, hangdog Chris O'Dowd, finding his life stalled after losing a girlfriend and a job in short order, goes in search of his roots and relatives.
    • 76 Metascore
    • 80 Robert Lloyd
    It's possible that, barring a confession, you will come to the end of The Jinx unsatisfied, wondering how it was you spent six unreclaimable hours in the company of a person you have decided is a creep. Either way, it's fascinating as it gets there.
    • 86 Metascore
    • 80 Robert Lloyd
    Wolf Hall is both stately and fast-moving, exceedingly still yet highly suspenseful.... Though the series comes to a natural stopping place, it also feels, at the finish, incomplete.
    • 83 Metascore
    • 80 Robert Lloyd
    This year, by contrast [to last year], the drama flows more naturally; it cuts closer to home, and nearer the bone, allowing Smith and McGovern, particularly, deeper material than has previously been their portion
    • Los Angeles Times
    • 73 Metascore
    • 80 Robert Lloyd
    The series, which is confident from the start, its world fully formed and well-performed, isn't a retelling.
    • 65 Metascore
    • 80 Robert Lloyd
    As before there is a nice balance between social drama and personal business, the tragic and the comic, exaggeration and authenticity.
    • 78 Metascore
    • 80 Robert Lloyd
    Smart and delightful.
    • tbd Metascore
    • 80 Robert Lloyd
    It is a sweet, rather sad piece that--like the songs, by Whedon and his brother Jed, which are at once mock-heroic and actually heroic, mock-moving and moving in fact--works both as parody and as a drama. It also works as comedy, from line to line and moment to moment, but it is not, really, a comedy
    • 66 Metascore
    • 80 Robert Lloyd
    It's a highly satisfying riff on the original work, as well as a credit to the modern British costume drama.
    • 66 Metascore
    • 80 Robert Lloyd
    Delightful new science-fiction comedy.... Like candy, it is sweet, and sometimes sticky or nutty or surprising.
    • 82 Metascore
    • 80 Robert Lloyd
    Though it has the pokey pace and flat affect of his other films--for Burns, history is elegy--it is also one of his best works: more tightly focused than usual in time and place, with a clear shape, dramatic arcs and a conclusion that is at once cautionary and moving, topical and timeless.
    • 45 Metascore
    • 80 Robert Lloyd
    Outsourced seems to me the most deftly realized sitcom of the new season. It is no closer to reality than any of its Thursday night neighbors ( Ken Kwapis, of "The Office" and other good things, developed it and directed the pilot), but it has a top-flight cast, characters who show you who they are rather than telling you, smart writing, sure rhythms and a cheerful attitude.
    • 81 Metascore
    • 80 Robert Lloyd
    At one moment, the series seems set to satisfy expectations, the next to undercut them, and the next to undercut the undercutting. Its endgame twists may frustrate some viewers, but they are meaningful and not arbitrary.
    • 80 Metascore
    • 80 Robert Lloyd
    The Good Fight preserves its predecessors’ tone, intelligence, quirkiness and Nancy Drew sense of adventure, while leaving behind some old, beaten baggage.
    • 73 Metascore
    • 80 Robert Lloyd
    There is a lot of talk--practical and philosophical--about comedy, and Crashing is very good with the details of low-level nightlife. But what most makes the show entertaining are Pete’s episodic adventures with characters who will help form him, challenge him and wake him from his self-satisfied sleep into a better sort of happiness.
    • 69 Metascore
    • 80 Robert Lloyd
    It is a thing by turns, and even simultaneously, ridiculous and sublime, romantic and overwrought and the most genuinely moving precisely when it’s at its corniest.

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