Robbie Collin

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The Telegraph
For 1,129 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 1.5 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Cantona
Lowest review score: 0 Christmas Karma
Score distribution:
  1. Positive: 607 out of 1129
  2. Mixed: 424 out of 1129
  3. Negative: 98 out of 1129
1129 movie reviews
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    • 77 Metascore
    • 80 Robbie Collin
    Detroit
    Once the significant shock of the film fades, what stays with you are its implications – the way it shows division digging in and self-perpetuating like cancer in bone, with each flare-up making the next more grimly probable. This is history retold in the blistering present tense.
    • 92 Metascore
    • 80 Robbie Collin
    Memoria
    The recurring fungal and archeological imagery suggest a conception of consciousness as a kind of mushroom patch, with human experience blooming from and feeding on the experiences that came before, all the way back to its unknowable cosmic beginnings.
    • 78 Metascore
    • 80 Robbie Collin
    Frankenstein
    Over two and a half hours, the pop-gothic intensity can get a little much – at times I felt like a fire extinguisher was going off in my face – but you wouldn’t necessarily want to lose any of it.
    • 73 Metascore
    • 80 Robbie Collin
    Inside Out 2
    Crucially, Kelsey Mann’s film, co-written by returning screenwriter Meg LeFauve, gets Pixar back to doing what they always did best: juggling big concepts in fun and ingenious but also surprisingly wise and moving ways.
    • 78 Metascore
    • 80 Robbie Collin
    I'm Your Man
    A sensationally funny and gently science-fictional German rom-com.
    • 70 Metascore
    • 80 Robbie Collin
    Final Portrait
    Rush hurls himself into the film’s star turn with a cantankerous abandon that more than compensates for his slightly unsteady accent. It’s a wildly entertaining performance that feels vividly inhabited both physically and vocally.
    • 76 Metascore
    • 80 Robbie Collin
    The White Tiger
    It’s a punchy, propulsive watch, blown along by snappy editing and a hip-hop-driven soundtrack that stresses that there’s still much fun to be had when hefty themes of inequality and geopolitics are being tackled. And honestly? There really is.
    • 65 Metascore
    • 80 Robbie Collin
    The Fantastic Four: First Steps
    There’s no bold genre reinvention afoot in this reboot, and its thwart-the-baddies plot remains bound to familiar equations, though at least now the equations actually balance.
    • 30 Metascore
    • 80 Robbie Collin
    The Electric State
    What fun it is to watch a film this expensive and not be able to quite work out where it’s going – or even if it might just stay put for a bit, and soak up the dustily poetic death-of-the-American century vibe.
    • 83 Metascore
    • 80 Robbie Collin
    The LEGO Movie
    For a shot of pure forward-leaping, backward-dreaming animated pleasure, pick brick.
    • 66 Metascore
    • 80 Robbie Collin
    The Danish Girl
    [A] beautiful, humane and moving biopic.
    • 71 Metascore
    • 80 Robbie Collin
    Dogman
    Dogman unfolds its relatively straightforward story with both thrilling style and serious moral force: it’s a sensation judged on either bark or bite.
    • 76 Metascore
    • 80 Robbie Collin
    Maggie's Plan
    Don’t underestimate the knitwear in Maggie’s Plan. This comedy from Rebecca Miller says more about the human condition through its cardigans than most films this summer have managed in their scripts.
    • 86 Metascore
    • 80 Robbie Collin
    Playground
    Vitally, Wandel doesn’t ramp up the misery here for dramatic effect, but rather successfully makes the fairly everyday unpleasantness feel as chest-clutchingly hopeless as it would to – well, a seven-year-old.
    • 85 Metascore
    • 80 Robbie Collin
    Girlhood
    Girlhood carries you along with its characters, neither lionising nor demonising them, but allowing you to watch them live their lives and make their own decisions, be they rash or inspired or a terrifying mixture of the two.
    • 55 Metascore
    • 80 Robbie Collin
    Megalopolis
    Aubrey Plaza is fantastic in this full-body sensory bath movie which follows a struggle for power among the elites of New Rome.
    • 78 Metascore
    • 80 Robbie Collin
    A Silent Voice
    Yamada makes a point of contrasting the agonising complexity of high-school life with the clean simplicity of the moments that really count: hushed conversations on a bridge in springtime, a shared roller-coaster ride under empty blue skies.
    • 64 Metascore
    • 80 Robbie Collin
    Catch Me Daddy
    In this wildly promising debut feature from the 36-year-old British filmmaker Daniel Wolfe, the landscape becomes a kind of holy sanctuary for two young lovers fleeing a murderous plot.
    • 60 Metascore
    • 80 Robbie Collin
    The Light Between Oceans
    Both Fassbender and Vikander explore their characters’ various thorny moral quandaries and shifting states of mind in breath-catching depth, drilling down through the plot’s melodramatic crust to the swirling ethical magma underneath.
    • 80 Metascore
    • 80 Robbie Collin
    Lean on Pete
    [Haigh] hasn’t sacrificed a shred of the understated, observational style, lace-like emotional intricacy and lung-filling feel for landscape that all made his previous film, the Norfolk-set marital drama 45 Years, such a force to be reckoned with.
    • 53 Metascore
    • 80 Robbie Collin
    The Dead Don't Die
    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.
    • 81 Metascore
    • 80 Robbie Collin
    Godzilla Minus One
    The monster mayhem scenes are obviously the main draw, and they’re terrifically staged, with clean visual effects that look anchored to the real world. And a careful balance is struck between spectacle and horror.
    • 79 Metascore
    • 80 Robbie Collin
    Beasts of No Nation
    The film can get so emotionally and spiritually punishing that it needs Elba’s industrial magnetism to keep you on side. And vile as the Commandant may be, he’s a strong showcase for the actor’s talents.
    • 74 Metascore
    • 80 Robbie Collin
    The Three Musketeers - Part 2: Milady
    As yarns go, it is all comfortingly chunky and luxuriantly spun – winter comfort viewing that treats its audience as gallantly as its heroes treat their mission, while taking itself just seriously enough.
    • 80 Metascore
    • 80 Robbie Collin
    Perfect Days
    Wenders’ obvious affection for Tokyo itself, his keen feel for texture and neat avoidance of cliché all suggest Perfect Days is likely to age well as a portrait of a great city’s everyday side.
    • 66 Metascore
    • 80 Robbie Collin
    Peterloo
    There is a danger of filing Peterloo away as an “important film” – but it is also a complex, rousing and rewarding one for anyone prepared to meet it on its own unapologetically ambitious terms.
    • 57 Metascore
    • 80 Robbie Collin
    Havoc
    A stickler might argue – not wrongly – that Havoc is ultimately a handful of astonishing set-pieces, linked by interludes of Hardy growling and ambling around. But as Howard Hawks once pointed out, all a good movie needs is three great scenes and no bad ones.
    • 93 Metascore
    • 80 Robbie Collin
    Spotlight
    There’s no tidy moral to take away, because a story like this shouldn’t end in comfort. Instead, your skin’s left prickling by its deft deconstruction of the business of secret-keeping, and its perceptive setting out of the courage and diligence it takes to overturn it.
    • 72 Metascore
    • 80 Robbie Collin
    Mother and Son
    Serraille, whose debut feature Jeune Femme won the Camera d’Or at Cannes in 2017, has returned with a film that feels like a jewellery box of telling moments: there is precious stuff here, and real sparkle too.
    • 65 Metascore
    • 80 Robbie Collin
    Last Night in Soho
    Wright is both a gifted stylist and master technician, and Soho moves as smoothly as a Maglev train, gliding on an invisible cushion of its own meticulous craft. Its pristine pop-art finish occasionally feels at odds with the grit of its milieu; as it barrelled along, I felt a constant contact-high, yet little contact grubbiness. But the high is rich and giddying, and the weaving of allure and horror gleamingly assured.
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