Robbie Collin

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For 578 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 3.4 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Mad Max: Fury Road
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 44 out of 578
578 movie reviews
    • 56 Metascore
    • 60 Robbie Collin
    This is a sober, stiff-collared procedural, handsomely shot but also oddly bloodless until the more conventional paranoid-thriller rhythms of its final act kick in.
    • 67 Metascore
    • 40 Robbie Collin
    Historical epics are rarely light on their feet, but The King sets new standards in the field of galumphing: the film moves like a rhinoceros through porridge.
    • 58 Metascore
    • 60 Robbie Collin
    Skarsgård’s ripe performance, with its wicked childishness and sarcastic self-pity, remains an asset Muschietti knows how to use. But the Losers are a mixed bag, convincing less well as a unit than they did as children.
    • 70 Metascore
    • 80 Robbie Collin
    A part of me found Todd Phillips’s radical rethinking of the Batman villain Joker thrillingly uncompromising and hair-raisingly timely. Another thinks it should be locked in a strongbox then dropped in the ocean and never released.
    • 80 Metascore
    • 100 Robbie Collin
    Emotionally, the film operates in a classic Gray area, with barely perceptible eddies that build to a mighty existential wrench. All of which, it should be said, rests on Pitt’s shoulders – which feel like very different shoulders, somehow, to the ones that slouched so appealingly through Once Upon a Time in Hollywood. His performance here is as grippingly inward and tamped down as his work for Tarantino was witty and expansive – it’s true movie stardom, and it fills a star-system-sized canvas.
    • 95 Metascore
    • 100 Robbie Collin
    Marriage Story may often resemble a tug of war between its stars, but it’s on both of their sides.
    • 71 Metascore
    • 60 Robbie Collin
    The film defaults to gentle comedy too often, and feels afraid to dig deep enough into its underlying themes to draw blood.
    • 55 Metascore
    • 40 Robbie Collin
    As a masterclass in having as little fun as possible with an irresistible premise, JT LeRoy is a hard act to beat.
    • 63 Metascore
    • 80 Robbie Collin
    Dora and the Lost City of Gold has contraptions to spare – falling platforms, lava pits, a water slide that pays homage to The Goonies – but its storytelling is commendably lean and faff-free. In the depths of summer break boredom, it’s a treasure horde of fun.
    • 25 Metascore
    • 20 Robbie Collin
    No child deserves to be subjected to this kind of blaringly witless branding bombardment; as for adults, I felt like I was being beaten around the head with the Argos catalogue.
    • 43 Metascore
    • 40 Robbie Collin
    The result is a film with the depth and decorative value of an inspirational fridge magnet – yet there is a certain degree of fun to be had in hearing Costner monologuing about tapeworm and then picturing him in the voiceover booth, possibly with his head in his hands.
    • 83 Metascore
    • 80 Robbie Collin
    Varda by Agnès is unquestionably one for the fans ... But this film also serves as a tantalising crash-course for newcomers.
    • 55 Metascore
    • 80 Robbie Collin
    You might imagine that easy-breezy, Hakuna Matata-chanting middle act would only work when drawn by hand. Yet cinematographer Caleb Deschanel’s expert command of "natural" spectacle and the sheer exuberance of Rogen and Eichner’s performances make it the film’s most purely delightful section.
    • 87 Metascore
    • 100 Robbie Collin
    As In Fabric transitions from one plot to the next, it is as if the film itself is nodding off, in order to reach a conclusion a conscious mind could never have found. The effect is wholly and deliberately bewildering, both in the moment and for days and nights afterwards.
    • 69 Metascore
    • 60 Robbie Collin
    Spider-Man: Far From Home offers a breezy, Europe-set intermezzo between Avengers: Endgame and whatever is coming next – a kind of sorbet in blockbuster form to punctuate the binge.
    • 48 Metascore
    • 60 Robbie Collin
    For those of us old enough to have been terrorised the first time round, it delivers a nasty-but-nice-enough childhood flashback.
    • 84 Metascore
    • 100 Robbie Collin
    Toy Story 4 reaffirms that Pixar, at their best, are like no other animation studio around.
    • 43 Metascore
    • 20 Robbie Collin
    Superheroes do progressive politics these days as a matter of course, and here it just feels like shtick – a box to be dutifully checked, rather than a theme to be meaningfully explored.
    • 89 Metascore
    • 100 Robbie Collin
    Everything about The Lighthouse lands with a crash. It’s cinema to make your head and soul ring.
    • 10 Metascore
    • 20 Robbie Collin
    In short, it’s a bum trip and then some. Kechiche has always been an admirer of the female posterior, but here he shifts styles into what could be called gluteus maximalism, filling the screen with frantically gyrating hindquarters for literal hours on end.
    • 73 Metascore
    • 80 Robbie Collin
    Zombi Child is the kind of lithe and lucid dream that gets its tendrils round your brain stem, so that when all hell finally breaks loose, you can’t jolt yourself awake from its grip.
    • 60 Metascore
    • 60 Robbie Collin
    A slight but necessary palate-cleanser, as crisp and tangy-sweet as raspberry sorbet, and Dolan’s most conventional and accessible work to date.
    • 92 Metascore
    • 80 Robbie Collin
    A raucous and blood-splattered social satire.
    • 83 Metascore
    • 100 Robbie Collin
    There’s a gleeful toxicity here that will launch a thousand think-pieces – Pitt’s character is capital-P problematic, absolutely by design – but the transgressive thrill is undeniable, and the artistry mesmerisingly assured.
    • 64 Metascore
    • 60 Robbie Collin
    Fanaticism – even in one so young and theoretically still savable – is a uniquely bad match for the brothers’ methods.
    • 69 Metascore
    • 100 Robbie Collin
    Not only does Egerton have Elton’s look and mannerisms down to an uncanny degree, he also musters up enough of his subject’s signature showmanship to give a performance that’s joyously at peace with its own preposterousness.
    • 54 Metascore
    • 80 Robbie Collin
    This is a winningly eccentric film, as attuned in its own way to the rhythms of ordinary life as Jarmusch and Driver’s (even better) 2016 feature Paterson. But there is a pessimism gnawing away in its gut that can’t be laughed off.
    • 92 Metascore
    • 100 Robbie Collin
    In tackling a story that is presumably, and perhaps painfully, close to home, [Hogg] has made her farthest-reaching film yet.
    • 46 Metascore
    • 60 Robbie Collin
    The short and salty-sweet Destination Wedding is less of a conventional romantic comedy than it is a high-concept chemistry experiment.
    • 35 Metascore
    • 20 Robbie Collin
    The switch from male to female leads has been done with so little apparent regard for how it might actually affect the plot that entire tracts of the film, including its finale, now land like poorly tossed pancakes.

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