For 463 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 1.9 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 3
Lowest review score: 20 Twenty Good Years: Season 1
Score distribution:
  1. Negative: 22 out of 463
463 tv reviews
    • 41 Metascore
    • 60 Robert Lloyd
    In spite of some talented actors, it all seems more scripted than lived, referring not the world but a world of things you've seen on TV, handled well enough to make Mercy passable, but never exceptional, television.
    • 37 Metascore
    • 60 Robert Lloyd
    There's nothing here you couldn't imagine from the premise, but there's also nothing wrong with what's here: McGraw is a good foil for Grammer, and Grammer is good at what he does.
    • 69 Metascore
    • 60 Robert Lloyd
    It is technically proficient--that is, the jokes consistently work, even when they don't add up to much--and its problems may not be unsolvable, if anyone even considers them problems in the first place.
    • 55 Metascore
    • 60 Robert Lloyd
    If you're in the mood for some outer space, I wouldn't warn you away. Livingston and Harris work well together, and though it's too soon to know whether this will go anywhere interesting, it's also too soon to say it won't. I do wonder what's coming.
    • 60 Metascore
    • 60 Robert Lloyd
    Wootton is a quick-minded, thematically consistent improviser who thoroughly knows his characters, and obviously something of a daredevil: You can get hurt doing this stuff, or arrested. But as in Baron Cohen's comedies, the cleverness of the star is too much the point.
    • 54 Metascore
    • 60 Robert Lloyd
    Old-chestnut premise notwithstanding, the show wants to be modern, and the humor occasionally pushes further than one might expect from a family comedy.
    • 56 Metascore
    • 60 Robert Lloyd
    All their best scenes are with one another and have less to do with whatever case they're contesting than with their shared personal history--the characters are old friends, maybe lovers--and teasingly suggested future. The crimes, by contrast, are not particularly compelling, even when they are sensational, and feel invented merely to let the stars talk.
    • 66 Metascore
    • 60 Robert Lloyd
    It isn't until the glimmer of a plot finally emerges, after Todd stumbles into a Middle Eastern market with a can of Thunder Muscle, eliciting sudden mysterious interest--that the series inches past mere mockery to the promise of more muscular misadventure.
    • 63 Metascore
    • 60 Robert Lloyd
    Many of those gags are mechanical and flat, although they are delivered as though they were not. But when the leads are focused on each other, size no longer matters and the show flickers to life.
    • 42 Metascore
    • 60 Robert Lloyd
    Their [Gethard and Parnell] interplay, once things get moving, is appealing, if not quite compelling, but what sold me on the pilot was the moment when 14-year-old Dylan Blue, as Gethard's beyond-the-law kid brother, revealed his dark side, and his gun; I was a little frightened.
    • 47 Metascore
    • 60 Robert Lloyd
    Yet if the pilot is generic and wan, it is at least sweet-tempered and not completely offensive (though this is somewhat at odds with its cinematic heritage).
    • 62 Metascore
    • 60 Robert Lloyd
    Some of these women are troubled, certainly, but none of them seems like trouble. Indeed, I felt a little sad at times, watching--not as I usually do, for the society that could produce such a program, but for the actual women in it, as far as I could make them out.
    • 64 Metascore
    • 60 Robert Lloyd
    The first lines of this new chapter were promising, if not quite the fulfillment of his last wild nights at NBC, when caution was thrown to the wind.
    • 43 Metascore
    • 60 Robert Lloyd
    Although the pilot feels somewhat made-to-order and its characters are schematically arrayed - press materials describe them as "the everyday couple" (Kyle Bornheimer and Christine Woods), "the high-passion couple" (David Walton and Mary Elizabeth Ellis) and "the couple that strives to be perfect" (Hayes MacArthur and Olivia Munn)--subsequent episodes grow looser and more natural, even as they get stranger.
    • 48 Metascore
    • 60 Robert Lloyd
    For all its flaws, there's something attractively amiable about Harry's Law. A little more grit, a little less speechifying, and a better verdict might yet arrive.
    • 47 Metascore
    • 60 Robert Lloyd
    This is only an average situation comedy, but even the great ones have worn that makeup.
    • 49 Metascore
    • 60 Robert Lloyd
    As is the case with pilots, the seams tend to show--the bountiful expository dialogue makes no effort to veil its purpose, and the production is a tad too insistent that we find these scamps charming. But they are fairly charming at that, and though the spy stuff is all unconvincing hokum, the company is easy to bear.
    • 53 Metascore
    • 60 Robert Lloyd
    Pope is a likeable woman, smart and sensible. Although the Difficult Boss is a common feature of Bravo series, by network standards she is egoless as the Buddha. Indeed, as a protector of the almost-born from the fuzzy thinking and distracted inattention of their parents, she is a bastion of perspective.
    • 52 Metascore
    • 60 Robert Lloyd
    I can't say I found much of Workaholics especially funny, but neither do I have it in my heart to hate it. On a craft level, it's very nicely made, the actors are weirdly appealing, and its spirit is not mean, but sweet.
    • 64 Metascore
    • 60 Robert Lloyd
    Crimson Petal could lose an hour without sacrificing a single scene or word of dialogue, and it would still seem slow and moody.
    • 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.