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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    • 76 Metascore
    • 100 Robbie Collin
    Ghost in the Shell
    There are gripping chases and balletic combat scenes, painstakingly realised by Oshii’s animators, but the mood is mostly cold and melancholic, as Kusanagi broods over the fleshly implications of living in a world of data
    • 65 Metascore
    • 100 Robbie Collin
    Men
    It’s the sort of film that rattles you in three ways at once: through the grim candour of its themes, the chill precision of its craft, and the nightmarish throb of its images.
    • 70 Metascore
    • 100 Robbie Collin
    The Phoenician Scheme
    His tender, witty, wondrous The Phoenician Scheme is the most Andersonian Anderson film to date – but then again, they all are, and that’s the fun of them.
    • 94 Metascore
    • 100 Robbie Collin
    Mr. Turner
    Beyond the troughful of fun tics, Spall makes Turner tenderly and totally human — the effect of which is to make his artistic talents seem even more extraordinary still.
    • 76 Metascore
    • 100 Robbie Collin
    mother!
    A sick joke, an urgent warning and a roar into the abyss, Mother! earns its exclamation mark three times over and more.
    • 81 Metascore
    • 100 Robbie Collin
    Mission: Impossible – Dead Reckoning
    Disguises, time bombs, runaway trains: Cruise, his director Christopher McQuarrie and their collaborators are very consciously working in a century-old tradition here, perhaps to show the business and art of stunning audiences can – if we choose – be much the same now as it ever was.
    • 79 Metascore
    • 100 Robbie Collin
    Furiosa: A Mad Max Saga
    The film may handle differently to its predecessor, but it’s clearly been tuned by the same engineers. After the pared-down drag racer, here comes the juggernaut.
    • 86 Metascore
    • 100 Robbie Collin
    Baby Driver
    The mechanisms at work in Baby Driver, while calibrated with hair’s-breadth precision, are nothing new. Here’s what is: the sheer glee with which the film prods around in its own clockwork to show you what spins what.
    • 84 Metascore
    • 100 Robbie Collin
    Toy Story 4
    Toy Story 4 reaffirms that Pixar, at their best, are like no other animation studio around.
    • 89 Metascore
    • 100 Robbie Collin
    The Power of the Dog
    The film is often hard to watch, but Campion and her uniformly excellent cast leaven the discomfort with a constant sense of prickling intrigue around what precisely we are watching play out here, and how far the ritual will go.
    • 83 Metascore
    • 100 Robbie Collin
    The Selfish Giant
    So hauntingly perfect is Barnard’s film, and so skin-pricklingly alive does it make you feel to watch it, that at first you can hardly believe the sum of what you have seen.
    • 68 Metascore
    • 100 Robbie Collin
    Maps to the Stars
    There’s so much in this seething cauldron of a film, so many film-industry neuroses exposed and horrors nested within horrors, that one viewing is too much, and not nearly enough. Cronenberg has made a film that you want to unsee – and then see and unsee again.
    • 78 Metascore
    • 100 Robbie Collin
    Top Gun: Maverick
    Thrilling, moving and gloriously Cruisey, Joseph Kosinski's sequel to the 1986 hit is unquestionably the best studio action film in years.
    • 83 Metascore
    • 100 Robbie Collin
    Belle
    Belle is a beautifully observed, dazzlingly animated sci-fi fairy tale about our online-offline double lives – it’s Hosoda’s finest film since 2012’s Wolf Children, and perhaps his best to date.
    • 87 Metascore
    • 100 Robbie Collin
    Birdman or (The Unexpected Virtue of Ignorance)
    Spectacular, star-powered cinema that makes us ask anew what cinema is for. Call it a "Dark Knight" of the soul.
    • 78 Metascore
    • 100 Robbie Collin
    A Gentle Creature
    Loznitsa’s construction of this world apart – which is, of course, a grotesque allegory for Russia itself – is as immersive as it is unnerving.
    • 55 Metascore
    • 100 Robbie Collin
    Wuthering Heights
    Style over substance? Not at all – it’s more that Fennell understands that style can be substance when you do it right. Cathy and Heathcliff’s passions vibrate through their dress, their surroundings, and everything else within reach, and you leave the cinema quivering on their own private frequency.
    • 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.
    • 81 Metascore
    • 100 Robbie Collin
    In Fabric
    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.
    • 87 Metascore
    • 100 Robbie Collin
    Hereditary
    This is categorically not a film that will be universally admired – but even as it cleaves to old formulas, it transports your mind to new terrain that feels genuinely and frighteningly hostile, and leaves you with plenty of mental souvenirs by which to remember the trip.
    • 89 Metascore
    • 100 Robbie Collin
    The Tale of The Princess Kaguya
    Emotions and moods are anchored to specific moments of stillness, and we feel them all the more intensely because of it.
    • 62 Metascore
    • 100 Robbie Collin
    The Bad Batch
    Its salvaged parts combine into an internally incongruous but crazily unique whole.
    • 74 Metascore
    • 100 Robbie Collin
    Dune: Part One
    Denis Villeneuve's new adaptation of the 1965 Frank Herbert novel – starring Timothée Chalamet – is an awe-inspiring piece of work.
    • 95 Metascore
    • 100 Robbie Collin
    Small Axe: Lovers Rock
    Thanks to both its mesmerising cast and McQueen’s flawless command of atmosphere and mood, it pulls off what I can only describe as a kind of cinematic jiu-jitsu – heaving you back to that precise moment in history, then lifting your soul out of your skin in one seamless move.
    • 81 Metascore
    • 100 Robbie Collin
    Living
    It’s a film that could have so easily smacked of an exercise, but its beauty feels thrillingly natural, and its considerable emotional power is honestly earned.
    • 61 Metascore
    • 100 Robbie Collin
    Saltburn
    Fennell has a sharp eye for outrage, and an even sharper one for hotness, crafting any number of scenarios and images here that may elicit sotto voce phwoars against your better judgement.
    • 65 Metascore
    • 100 Robbie Collin
    Alien: Covenant
    Scott’s Alien: Covenant is a mad scientist film – arguably, one of the maddest. It’s grandiose, exhilarating, vertiginously cynical and symphonically perverse.
    • 72 Metascore
    • 100 Robbie Collin
    Bugonia
    Stone and Plemons prove ideal co-conspirators, with carefully balanced performances that have them taking turns as hero and villain without ever quite annihilating our sympathies or winning them outright.
    • 80 Metascore
    • 100 Robbie Collin
    Star Wars: Episode VII - The Force Awakens
    From the off, JJ Abrams’s film sets out to shake Star Wars from its slumber, and reconnect the series with its much-pined-for past. That it achieves this both immediately and joyously is perhaps the single greatest relief of the movie-going year.
    • 76 Metascore
    • 100 Robbie Collin
    Spencer
    The 31-year-old Stewart – who will be instantly and justifiably awards-tipped for this – navigates this perilous terrain with total mastery, getting the voice and mannerisms just right but vamping everything up just a notch, in order to better lean into the film’s melodramatic, paranoiac and absurdist swerves.
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