K. Austin Collins

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Rolling Stone, Vanity Fair
For 250 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

K. Austin Collins' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Nope
Lowest review score: 30 Infinite
Score distribution:
  1. Positive: 148 out of 250
  2. Mixed: 95 out of 250
  3. Negative: 7 out of 250
250 movie reviews
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    • 86 Metascore
    • 100 K. Austin Collins
    First Reformed
    Schrader’s film is a wise, shocking, intellectually prodigious masterpiece. It’s a classic Schrader slow burn that seems to reach, in its final moments, for the impossible.
    • 62 Metascore
    • 75 K. Austin Collins
    Solo: A Star Wars Story
    Clarke, too, shines as a woman who’s made sacrifices Han cannot imagine. To the extent that the movie is a western at heart, its smartest, subtlest influence is the Joan Crawford classic Johnny Guitar, about a woman who makes her way in the Wild West against all odds, and in the face of all morality.
    • 66 Metascore
    • 40 K. Austin Collins
    Deadpool 2
    There’s no other way to put this: Deadpool 2 is a regular, shmegular superhero movie, distinguished only by an obnoxiously unearned dose of “see what I did there?!” It’s a drag.
    • 81 Metascore
    • 80 K. Austin Collins
    Revenge
    Fargeat gets her thrills from all the bad things that make her genre great: Cinematography that’s rancid with heat and color, sound design that delights in every exaggerated crunch and squish.
    • 42 Metascore
    • 70 K. Austin Collins
    Breaking In
    Union, a conquering badass, owns it. The movie walks an intriguing line between strained believability and outright superherodom—a line every action movie walks, of course. But then, most action movies don’t star black women.
    • 71 Metascore
    • 65 K. Austin Collins
    RBG
    The documentary sees Ginsburg as an icon and hero first—and within that (I hesitate to say “second”) it sees her as the prodigious, idiosyncratic legal mind that she is. Somewhere in the process, rich contradictions and complexities get the slightest bit overlooked.
    • 60 Metascore
    • 85 K. Austin Collins
    Mrs. Hyde
    Huppert, whose sharpness lends itself beautifully to ironic humor, is more than game. Mrs. Hyde is, among other things, a comedy of enlightenment—literal enlightenment, if the gold sparks coursing through Géquil’s body are any indication. Perhaps its greatest lesson isn’t within the movie, but rather the fact of it: rather than revise a stale genre, burn it anew.
    • 85 Metascore
    • 70 K. Austin Collins
    The Rider
    Despite its pure beauty, in other words, there’s no mistaking The Rider for a simple, crowd-pleasing pick-me-up. The movie is soulful, elegant, filmed as often as not at the magic hour, when the sky is as broad as it is orange-yellow, and every nook of the world seems alight with possibility. It is hardly, on its surface, an outright downer. But it’s unmistakably a movie about loss.
    • 89 Metascore
    • 100 K. Austin Collins
    Zama
    Martel’s sensibility is as oblique as it is sensitive, confounding as it is grimly humorous. It’s a movie that seems constantly to be spilling the secrets of this world, but without fanfare—there’s an unsettling banality to it all.
    • 71 Metascore
    • 80 K. Austin Collins
    Testament
    The charge that this film has the humble patina of a “TV movie”—an insult levied by critics and others at the time—is in fact perfectly apt. It explains the smallness of this production; it isn’t a stretch to say that the lack of crash-bang disaster theatrics might have something to do with the film’s budget. As it happens, Testament is all the better for this smallness. And, for me, all the more devastating.
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