Robbie Collin

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The Telegraph
For 1,138 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 1.3 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Blade Runner 2049
Lowest review score: 0 Christmas Karma
Score distribution:
  1. Positive: 610 out of 1138
  2. Mixed: 428 out of 1138
  3. Negative: 100 out of 1138
1138 movie reviews
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    • 49 Metascore
    • 40 Robbie Collin
    Supergirl
    Craig Gillespie, who previously directed Cruella and I, Tonya, does contrive one or two dynamic CG brawls. And his flashbacks to Krypton and Earth – obligatory franchise infill that they are – provide a bit of welcome variation. The rest, though, is a chore: like watching an endless orangey-grey rehash of scenes from Mad Max and Star Wars.
    • 73 Metascore
    • 80 Robbie Collin
    Toy Story 5
    While Toy Story 5 may fall short of essential, in an age in which children’s entertainment routinely panders to its audience, there is something quietly radical about a film that is willing to worry for them.
    • 74 Metascore
    • 40 Robbie Collin
    Disclosure Day
    With its ruminations on everything from responsible government to humanity’s innate religious drive, Disclosure Day is unquestionably a big swing. But with Spielberg, big swings should be a given, and this one only glancingly connects.
    • 52 Metascore
    • 20 Robbie Collin
    Masters of the Universe
    This reboot of the 1980s fantasy cartoon keeps telling us how absolutely right we are to not be enjoying it. Who am I to argue?
    • 49 Metascore
    • 20 Robbie Collin
    Propeller One-Way Night Coach
    It is normal to be bored by dreadful films, or even annoyed by them. But I don’t believe I have ever felt as sorry for one as I do John Travolta’s directorial debut, the viewing of which is like watching a toddler walk into a lamp post.
    • 38 Metascore
    • 40 Robbie Collin
    Her Private Hell
    It’s all fun in the heat of the moment – or more often the chill of it – and the physically constructed city itself is a wonder. But we already know that Refn can do this stuff in his sleep. As the credits roll, you may be left wondering: what else?
    • 69 Metascore
    • 60 Robbie Collin
    Bitter Christmas
    If you wanted to be mean about Pedro Almodóvar’s new film, you could call it complacent. On the other hand, if you wanted to be generous, you could call it a spry deconstruction of artistic complacency. In reality, it’s both.
    • 67 Metascore
    • 100 Robbie Collin
    Moulin
    As always in Nemes’s films, the period detail is so enveloping it feels utterly natural. But his great gift as a director is his facility for portraying 20th-century European history as a great grinding machine, into the blood-stained cogs of which anyone might have found themselves dragged.
    • 53 Metascore
    • 40 Robbie Collin
    Star Wars: The Mandalorian and Grogu
    Everything Disney needed to revive the franchise after its seven-year absence from cinemas is in here. The problem is there is only around 20 minutes of it, and much of the rest is hopeless.
    • 82 Metascore
    • 100 Robbie Collin
    Fjord
    Writer-director Cristian Mungiu has made a slow-burn provocation that knows exactly which buttons it is pressing – yet which also grapples with the thorny issues it raises, from the limits and contradictions of multiculturalism to public sector careerism, with an unflinching moral seriousness.
    • 77 Metascore
    • 80 Robbie Collin
    Paper Tiger
    Gray’s film is itself no paper tiger – yes, it’s a fondly conceived throwback, but its claws are real.
    • 70 Metascore
    • 80 Robbie Collin
    Gentle Monster
    It’s a necessarily tough watch, with an engrossing performance from Seydoux that makes Lucy’s every flicker of hope and stab of dread feel like your own.
    • 69 Metascore
    • 100 Robbie Collin
    Cantona
    Watching that brilliance in action remains a thrill: you can see the angles and vectors align in his mind’s eye before every kick. Tryhorn and Nicholas have pulled off something similar here. Having got every calculation just right, their film soars.
    • 45 Metascore
    • 80 Robbie Collin
    The Electric Kiss
    Its central love quadrangle, which straddles two separate time periods with ease, is breezily absorbing thanks to its participants’ plentiful chemistry, while the plot embraces and dodges clichés by turns with quickstepping finesse.
    • 41 Metascore
    • 20 Robbie Collin
    Parallel Tales
    Unfolds with little dramatic momentum and negligible intrigue.
    • 91 Metascore
    • 100 Robbie Collin
    Teenage Sex and Death at Camp Miasma
    Teenage Sex and Death at Camp Miasma is a title so good you feel the film to which it’s attached should really have to earn it: happily it does so within three minutes.
    • 90 Metascore
    • 80 Robbie Collin
    Fatherland
    Sharp, exacting, trenchant, and fascinating, it’s a shard of history which uses immense polish to make of itself a mirror.
    • 63 Metascore
    • 80 Robbie Collin
    The Devil Wears Prada 2
    Gloomy? Not even a bit. This is a glossy and sophisticated workplace comedy about the end of a gilded age of sophisticated froth – deftly written by Aline Brosh McKenna and fizzily directed by David Frankel, both returning from the first film.
    • 72 Metascore
    • 60 Robbie Collin
    The Sheep Detectives
    The Sheep Detectives is a profoundly odd viewing experience – entirely pleasant, lightly funny and easily absorbed, yet every so often you find yourself thinking hang on a minute, I am watching a flock of sheep investigate a murder, and feel like you are having a stroke.
    • 58 Metascore
    • 40 Robbie Collin
    Mother Mary
    Is Mother Mary a comment on modern stardom? Or the study of an intense, broken relationship? Or is it just an excuse for two hours of sculptural close-ups and artfully creepy tableaux? As you watch, you find yourself continually grabbing at meaning but, like a ghost, your fingers slip straight through.
    • 47 Metascore
    • 80 Robbie Collin
    Lee Cronin's The Mummy
    The result is spooky, upsetting and revolting. Although it ends up crossing the line from unsettling to punishing, you still have to take your hat off to it, if only because a makeshift sick bag may be required.
    • 56 Metascore
    • 60 Robbie Collin
    The Wizard of the Kremlin
    It’s smart and watchable in a miniseries sort of way, and sets the current war in Ukraine in an instructive wider context – while Dano is ideally cast as the unreadable vizier serenely pulling strings behind the scenes. But it’s also overlong.
    • 37 Metascore
    • 40 Robbie Collin
    Outcome
    It has a weird, half-finished vibe, with a lumpy, repetitive structure, a bizarre colour palette that resembles an exploding Tango Ice Blast machine, and too many scenes that wear on well beyond their natural usefulness.
    • 39 Metascore
    • 40 Robbie Collin
    Michael
    The performances are great, the rise-to-fame story gripping, and the music and choreography are making my skin tingle. I can’t wait to see how they’re going to deal with the trickier stuff.” But then you do wait. And wait. And then the credits roll, and you’re left waiting still.
    • 37 Metascore
    • 40 Robbie Collin
    The Super Mario Galaxy Movie
    It’s testament to just how bad the original Super Mario Bros Movie was that this sequel can be a noticeable improvement in every respect – animation, storytelling, humour, vocal performances, you name it – while still comfortably qualifying as absolute rubbish.
    • 49 Metascore
    • 40 Robbie Collin
    How to Make a Killing
    It isn’t especially funny, and I’m not even sure that it’s meant to be.
    • 77 Metascore
    • 80 Robbie Collin
    Project Hail Mary
    Does it have many original ideas of its own? Perhaps not. But its greatest hits mixtape of other people’s has been compiled with such flair – as well as a sound comprehension of why they worked so well the first time – that it’s hard not to be swept up regardless.
    • 73 Metascore
    • 80 Robbie Collin
    Hoppers
    In short, the film actually looks funny. Remember when animations always did.
    • 55 Metascore
    • 40 Robbie Collin
    The Bride!
    A wildly arresting performance from Buckley is not enough to save this generic and uninspired adaptation.
    • 84 Metascore
    • 100 Robbie Collin
    Sirât
    Its title refers to the mythical Islamic bridge across hell, on which one false step leads to certain damnation. The path trodden by the film itself is no less risky, but it styles out the crossing astonishingly.
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