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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    • 67 Metascore
    • 80 Robbie Collin
    Tom at the Farm
    [Dolan's] raised his craft, and made by far his best film yet.
    • 88 Metascore
    • 80 Robbie Collin
    Winter Sleep
    This is a beautiful, bold, intently serious film.
    • 71 Metascore
    • 80 Robbie Collin
    Homemade
    One of the great pleasures of the collection is watching human ingenuity at work almost in real time, as each filmmaker in turn fathoms what’s possible, then keeps pushing, to regularly thrilling effect.
    • 66 Metascore
    • 80 Robbie Collin
    Good Luck, Have Fun, Don't Die
    It is grippingly unpredictable – a film with a glint in its eye and smoke curling from its nostrils and underpants. But you dismiss it, or miss it, at your peril.
    • 53 Metascore
    • 80 Robbie Collin
    Emancipation
    Emancipation is a finely crafted, unflinching pursuit thriller about a slave seizing his freedom in 1860s Louisiana, and the first notable thing about it is that Smith is terrific in it.
    • 75 Metascore
    • 80 Robbie Collin
    Night Moves
    This is mesmerically assured and tensile film-making, with two complex and plausible performances at its core, and the shin-stinging kick of a Chaucerian moral fable.
    • 78 Metascore
    • 80 Robbie Collin
    Enys Men
    It wouldn’t be quite right to describe Mark Jenkin’s Enys Men as a horror film. Rather, it’s the kind of thing the victims in a horror film might watch, just after pulling it from the cellar of a derelict harbour cottage, and shortly before succumbing to some blood-curdling maritime curse.
    • 72 Metascore
    • 80 Robbie Collin
    Mickey 17
    Mickey 17, about a hapless clone’s misadventures on a colonising mission, is a throwback to blockbusters as the late 20th century made ’em: a $100m boisterous sci-fi satire that neither belongs to a franchise nor cares to start one, but instead jams as many eggs as it can into one increasingly precarious basket.
    • 80 Metascore
    • 80 Robbie Collin
    Barbie
    Greta Gerwig takes on feminism and the patriarchy in this hilarious, deeply bizarre film.
    • 76 Metascore
    • 80 Robbie Collin
    99 Homes
    A timely, terrifically acted moral nail-biter.
    • 77 Metascore
    • 80 Robbie Collin
    Better Man
    Not all of it clicks, but given how bizarre much of it is – Williams’s 2003 Knebworth gig is interrupted by a platoon of heavily armed monkeys, for instance – the hit rate is impressive.
    • 55 Metascore
    • 80 Robbie Collin
    Yesterday
    The film has lots of fun with its premise – until America beckons, then suddenly it seems to lose its head of steam. ... Yet it rallies in style for a beautifully judged and surprisingly moving finale.
    • 75 Metascore
    • 80 Robbie Collin
    Stan & Ollie
    It is eccentric, sad and stirring to the core. Oh yes – and incredibly funny, too.
    • 79 Metascore
    • 80 Robbie Collin
    Gone Girl
    For all its simmering malice and buried secrets, it’s worth remembering that this is David Fincher in fun mode: unnerving, shocking and provoking for better and for worse, in sickness and in health, but mostly sickness.
    • 74 Metascore
    • 80 Robbie Collin
    Catherine Called Birdy
    Dunham’s film has the kind of winning light touch that’s impossible to fluke.
    • 68 Metascore
    • 80 Robbie Collin
    Fighting with My Family
    For a film that spends so much time with its thighs around other people’s throats, it has a surprisingly delicate touch.
    • 82 Metascore
    • 80 Robbie Collin
    Da 5 Bloods
    With a story that straddles two generations and stretches from Trump’s United States to the Vietnam jungle, Da 5 Bloods is one of Spike Lee’s most expansive films to date. But it’s built with the precise, snap-shut mechanisms of an ancient moral fable – a Pardoner’s Tale made about and for unpardonable times.
    • 64 Metascore
    • 80 Robbie Collin
    Fury
    Any Hollywood gloss has been scoured away: the plot is raw, episodic and wholly unsentimental; a gruelling onward rumble from one brush with death to the next.
    • 64 Metascore
    • 80 Robbie Collin
    Elvis
    Yes, it’s a bright and splashy jukebox epic with an irresistible central performance from Austin Butler . . . But in that signature Luhrmann way, it veers in and out of fashion on a scene-by-scene basis: it’s the most impeccably styled and blaringly gaudy thing you’ll see all year, and all the more fun for it.
    • 72 Metascore
    • 80 Robbie Collin
    El Conde
    El Conde is a visual feast as much as a visceral one, but its artful poise belies its bloodlust. Larraín is making his points here not with fang-like precision, but a gleeful crocodilian chomp.
    • 92 Metascore
    • 80 Robbie Collin
    The Look of Silence
    This is an essential companion piece to Oppenheimer’s earlier film; another astonishing heart-of-darkness voyage into the jungle of human nature.
    • 69 Metascore
    • 80 Robbie Collin
    Bastards
    Because genre lets us know roughly what to expect, it can put us at ease, which is the last thing Denis wants to do. So she leaves questions hanging and mysteries unsolved.
    • 72 Metascore
    • 80 Robbie Collin
    Tale of Tales
    Tale of Tales dances on a razor’s edge between funny and unnerving, with sequences of shadow-spun horror rubbing up against moments of searing baroque beauty. The result is a fabulously sexy, defiantly unfashionable readymade cult item.
    • 72 Metascore
    • 80 Robbie Collin
    All the Money in the World
    As ever with Scott, the film unfolds in a richly realised world and moves with an addictive, free-wheeling swagger. And his four main actors – Williams, Wahlberg and the Plummers old and young – have all been astutely cast.
    • 51 Metascore
    • 80 Robbie Collin
    White Bird in a Blizzard
    Woodley is the teen angst poster girl de nos jours, but this performance is subtler and richer than any other she’s given to date.
    • 68 Metascore
    • 80 Robbie Collin
    Noah
    Aronofsky’s sixth film is not the Noah you know, but a hundred-million-dollar Chinese whisper; a familiar story made newly poetic and strange with a flavour that’s less Genesis than Revelation.
    • 63 Metascore
    • 80 Robbie Collin
    Maria
    Jolie is given ample space to dazzle, but less to surprise. Dazzle she does though, with a fine understanding of just how camp she can go without proceedings becoming too operatic for their own good.
    • 76 Metascore
    • 80 Robbie Collin
    Asteroid City
    It’s juicily ambitious stuff: imagine the familial tensions of The Royal Tenenbaums and The Darjeeling Limited mapped onto an entire nation, but also playing out in multiple close-up vignettes.
    • 59 Metascore
    • 80 Robbie Collin
    Outlaw King
    This is an exultantly old-school blood-and-thunder retelling of the rise of Robert the Bruce.
    • 76 Metascore
    • 80 Robbie Collin
    Black Souls
    That strange, conflicted tone of "operatic realism" that the critic and essayist Phillip Lopate found in the films of Luchino Visconti also runs through the core of Munzi’s film: there’s an almost theatrical grandeur to the plot, which was adapted from a novel by Gioacchino Criaco, but moment-to-moment it zings with realism.
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