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For 841 reviews, this critic has graded:
  • 59% higher than the average critic
  • 5% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Robert Lloyd's Scores

Average review score: 66
Highest review score: 100 Homeland: Season 2
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Negative: 30 out of 841
841 tv reviews
    • 49 Metascore
    • 50 Robert Lloyd
    The show runs hot and cold--well, warm and cold--depending on who’s on screen; not all these characters have been created equally deep.
    • 56 Metascore
    • 80 Robert Lloyd
    Charmed 2018 is good, offering up all one could want from a supernatural adventure series. It’s well cast; witty and fun; a little satirical, a little more suspenseful, but with solid emotional grounding (and the promise of romance); a little physical but with nothing too explicit in the way of violence. That it doesn't take itself too seriously doesn’t mean it won’t make you jump.
    • 81 Metascore
    • 70 Robert Lloyd
    Early on, creator-director Mike Flanagan creates a good deal of tension without resorting to the usual cinematic tools of suspense--creepy music, shock cuts, crazy camerawork. Later on, he resorts a bit. And there is lot of “later on.” The nonlinear, 4D-puzzle structure of the storytelling means that we already know much about what will happen to the characters, making the series into something of a waiting room. Conversations run in circles; points are made and then made again and once more for good measure.
    • 63 Metascore
    • 50 Robert Lloyd
    The players are all very pretty, the better for the target demographic to dream upon, and there are swimming pools and oceanside workouts to make that crystal clear. But for the moment, despite the ample drama in which they're involved, most represent only a strategic position in the narrative flow chart, placeholders for the better developed characters that might come, eventually. One exception is Bre-Z, who is interesting out of the box as Coop, Spencer's not completely out gay best friend.
    • 78 Metascore
    • 80 Robert Lloyd
    There’s a convincing ordinariness underpinning the fantastic events here. ... “The Woman Who Fell to Earth” does feel like a fresh start; Moffat’s later years were heavy in tone and hobbled by long arcs and psychology. If only for a transitional moment, but maybe longer, the new season has put that baggage down.
    • 57 Metascore
    • 50 Robert Lloyd
    Like the show’s interludes of theological discourse, its moments of regret and redemption are made to be easy to grasp and digest in the context of a Sunday night, broadcast network, mostly-family-friendly comic drama. For those less invested in the God question, or less attracted to sentiment, the show will run mostly on the substantial charm and chemistry of its young stars and the Hardy Boys/Nancy Drew sleuthing they do together.
    • 50 Metascore
    • 60 Robert Lloyd
    It has political points too, about diversity and unity, preservation and gentrification, which are simultaneously emphasized and danced around. Stripped down to its essentials, it’s a familiar sort of comedy about a person who would like to be left alone and the person who won’t leave him alone. ... If Dave can seem too weird to be true, the Butler family represents a dynamic so familiar to situation comedy as to seem practically real.
    • 48 Metascore
    • 50 Robert Lloyd
    Nothing particularly interesting is done with the premise. ... But Wayans and West develop an increasingly comfortable rapport as the episodes go on, and West is enjoyable all the way through, funny without breathing hard.
    • 42 Metascore
    • 60 Robert Lloyd
    The cast is exceptionally good, and even when the show is dumb they are often funny, and when it is not dumb, they are funny too. I found The Cool Kids alternately annoying and entertaining; it’s not particularly ambitious, in form or content, but it hits the marks it assigns itself.
    • 53 Metascore
    • 70 Robert Lloyd
    It’s funny and sweet and true to its roots, if, at times, a little obvious in its aims.
    • tbd Metascore
    • 70 Robert Lloyd
    The film is a work of praise, not an expose.
    • 47 Metascore
    • 70 Robert Lloyd
    It is as baldly manipulative and corny as heck--the pilot ends with a Coldplay song--and even a little ridiculous. But the actors sell it, and the fact that the action can seem so unlikely oddly just makes it more compelling.
    • 48 Metascore
    • 50 Robert Lloyd
    The plot is serviceable, which is all it needs to be, but there are car chases and helicopter stunts and banter all the while. That is exactly the sort of thing many people will require of a Monday night.
    • 76 Metascore
    • 50 Robert Lloyd
    A big, weird, tightly controlled mess of a show. It swings for the bleachers and doesn't always connect--and when it does, it can seem to skip some bases or run them out of order. But it does keep swinging and running. ... But Stone, an actress of alchemical gifts--she can turn lead to gold--is marvelous at every turn, in every version and inversion of her character.
    • 77 Metascore
    • 90 Robert Lloyd
    One of the best reasons to turn on a television this new fall season. Inspiring without being inspirational, dramatic without being dishonest, it has points it wants to make about work and commitment, parents and children, but never at the expense of things that might complicate its message.
    • 77 Metascore
    • 80 Robert Lloyd
    The series does not completely remake the rules of the genre to which viewers will ultimately discover it belongs, but it leaves its own mark on them in ways that are lovely, touching, strange and liable to stay with you after the curtain--hopefully just a first act--rings down.
    • 67 Metascore
    • 70 Robert Lloyd
    It is almost inevitably an odd show, though perhaps not always in ways it means to be. I found it interesting and frustrating by turns, but worth recommending on the strength of its cast and its best scenes.
    • 44 Metascore
    • 40 Robert Lloyd
    In a generous mood one might take all this state-encouraged violence as a metaphor for the way the poor have been systemically kept down by government inaction. But such occasional resonances feel more accidental and inconsistent, or at least beside the sanguinary point. The series rarely rises above the level of cliché. The production is nothing to speak of.
    • 66 Metascore
    • 70 Robert Lloyd
    Ryan may be the shallowest figure here, an assemblage of reactions and attitudes more than a person we get to know--or seem to get to know, which is all the same in television. His early-episodes earnestness is appealing. ... He is forced to spend much of the middle episodes in a kind of balled-up funk as Ryan stews indignantly over the moral compromises he encounters "in the field." ... It gives all the best moments away to Pierce, who is as easily believable, and believably easy, as an old agency pro as he's been in every other part he's ever played. Still, the star handles the action well, when it comes.
    • 64 Metascore
    • 70 Robert Lloyd
    The excellence of the acting and the admirable, one might almost say English naturalism of the production balance the sometimes improbable, even implausible action and the occasional sacrifice of sense to drama; it is true that in life, people do not act sensibly, but fictional characters should be held to a higher standard of consistency. Still, the writing gives the actors a lot to play with. ... A solid cop drama.
    • 70 Metascore
    • 80 Robert Lloyd
    It is a moody, misty drama that stays compelling even when it veers toward the obvious, with characters you care about even without knowing them well because they come across, most of them, as soulful even when they are not particularly nice.
    • 69 Metascore
    • 80 Robert Lloyd
    An hour-long comedy, rich with dramatic complication and depth of feeling, it is not without crises and conflicts; but it is also not weighed down with murders or monsters.
    • 83 Metascore
    • 80 Robert Lloyd
    Its meanings are sometimes obscure and sometimes obvious, nearly to the point of being polemical, and most often somewhere in between. But its surfaces are always interesting and splendidly executed. Even the glitches are artfully placed.
    • 77 Metascore
    • 80 Robert Lloyd
    You would have to be a most grumpy, dour, negative, naysaying, stubbornly unhappy, anti-life sort of person to turn up your nose at NBC’s Making It. ... [Amy Poehler and Nick Offerman's] reactions to the work are often more interesting than that of the judges, who tend to be, you know, judgy; when the hosts weigh in, it feels spontaneous and heartfelt, as if they can't stop themselves.
    • 69 Metascore
    • 80 Robert Lloyd
    The series is as good as it needs to be, and maybe a little better. Like other Canadian dramas that have made their way south across the 49th parallel, it is attractively modest in ambition and execution, without feeling cheap or flimsy. Many of the elements in the story are familiar, which is not the least attraction of this summer entertainment, the narrative version of a beach read.
    • 66 Metascore
    • 80 Robert Lloyd
    In every respect it’s the equal of, and largely superior to, any of the actual King adaptations that have come to television lately.
    • 78 Metascore
    • 80 Robert Lloyd
    It's an intimate, largely inside look at the actor-comic, a mosaic of clips and commentary from those who knew him pretty to very well. It will reinforce, not remake, his public image as a private sort of public person; a sensitive, sometimes insecure soul strapped to a rocket ship mind, a long-distance sprinter.
    • 59 Metascore
    • 50 Robert Lloyd
    The show is a mixed bag; some of it successful, some of it irritating, some of it funny when it is also irritating, some of it not irritating but not particularly funny either.
    • 39 Metascore
    • 50 Robert Lloyd
    The series, which is humorous enough and romantic enough and as bloody as it needs to be for the international market, is not completely predictable.
    • 84 Metascore
    • 80 Robert Lloyd
    Real life does not always lend itself to dramatic adaptation, but Davies and Frears manage to make of it something both thoughtful and antic, historical but only in the brief asides a history lesson. They fill up the corners of the story with a roster of British eccentrics fit for an old Ealing Studios comedy who, paradoxically, make "A Very English Scandal seem more lifelike than not.

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