Robbie Collin

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The Telegraph
For 1,122 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 Sentimental Value
Lowest review score: 0 Christmas Karma
Score distribution:
  1. Positive: 601 out of 1122
  2. Mixed: 424 out of 1122
  3. Negative: 97 out of 1122
1122 movie reviews
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    • 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.
    • 88 Metascore
    • 80 Robbie Collin
    Parallel Mothers
    Even when Almodóvar plays on easy mode – and nothing about Parallel Mothers could be described as difficult – the results are irresistible.
    • 46 Metascore
    • 60 Robbie Collin
    Reminiscence
    It’s a film about memory which itself feels like the kind of thing you vaguely remember seeing 25 years ago. I’m not sure future slow-burn classic status awaits, but at a time when few studio films even seem to be striving for it, you have to applaud the attempt.
    • 63 Metascore
    • 60 Robbie Collin
    People Just Do Nothing: Big in Japan
    There’s an inevitable and perhaps unavoidable hitch. People in sitcoms generally don't change at all, while people in films can rarely afford not to – and a movie-sized plot, with its multiple emotional crests and dips, isn’t the kind of environment these characters were built to thrive in.
    • 65 Metascore
    • 80 Robbie Collin
    The Courier
    Cooke’s sturdy, old-fashioned approach to staging and shooting pairs well with his leading actor’s precise, engaging performance, and makes scenes like this anxious backstreet exchange – or Greville and Penkovsky’s two visits to the ballet, each one serving as a clever psychological pivot-point – all the more fun and absorbing.
    • 80 Metascore
    • 80 Robbie Collin
    The Sparks Brothers
    Wright seems determined to bring in some new blood, and his film is a thrillingly persuasive recruiting tool. For existing fans, it’s a fond and nerdily comprehensive celebration – or perhaps vindication – of the siblings’ extensive, courageously eccentric output.
    • 76 Metascore
    • 100 Robbie Collin
    Zola
    At the very end of Janicza Bravo’s Zola, just as you’re struggling to comprehend what on earth the film is supposed to amount to, there is a wonderful moment when you realise that’s the entire point.
    • 72 Metascore
    • 80 Robbie Collin
    The Suicide Squad
    The Suicide Squad (note the definite article) is such a drastic improvement in every respect that you almost – almost – feel sorry for the earlier version: it’s dazzlingly colourful and riotously crass, but also emotionally alive
    • 91 Metascore
    • 100 Robbie Collin
    Drive My Car
    Hamaguchi has made a profoundly beautiful film about making peace with the role in front of you, and playing it with all your might.
    • 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.
    • 24 Metascore
    • 40 Robbie Collin
    Off the Rails
    There is something utterly perplexing about this British comedy, in which three middle-aged women go on an Interrailing trip with the daughter of a recently departed friend: it’s as if the cast and crew were planning to make a musical, then got to the set and decided they couldn’t be bothered.
    • 48 Metascore
    • 20 Robbie Collin
    Jolt
    Like the muddled plotting, risible climax and wearisomely foul-mouthed script, Jolt’s budgetary shortcomings might have been endurable if its action scenes passed muster. Alas, they’re barely community theatre standard.
    • 76 Metascore
    • 100 Robbie Collin
    Paris, 13th District
    This foursome’s lives intersect in consistently thrilling and surprising ways, thanks in no small part to the fundamental volatility of contemporary young urban lives.
    • 64 Metascore
    • 40 Robbie Collin
    Casablanca Beats
    Casablanca Beats just about gets by on restless teenage energy and its bustle of winning young faces. But it’s a new arrangement of a very familiar old song.
    • 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.
    • 82 Metascore
    • 80 Robbie Collin
    A Hero
    The action always feels rooted in the greater story of the city of Shiraz itself: even a scene as simple as Rahim walking through a shopping centre becomes naturally soundtracked by a musical instrument salesman tuning a dulcimer in his booth.
    • 75 Metascore
    • 60 Robbie Collin
    Titane
    Titane is the kind of film that makes quibbles over plausibility seem foolish: you just have to sit back and enjoy being ridden over, or at least accept that’s what the exercise is about.
    • 75 Metascore
    • 100 Robbie Collin
    The French Dispatch
    Wes Anderson’s The French Dispatch feels like four films in one, and contains enough ideas for at least another six.
    • 87 Metascore
    • 80 Robbie Collin
    The Velvet Underground
    The Velvet Underground is not the kind of music documentary that dutifully walks the viewer through the greatest hits and bitterest feuds. Instead, it re-conjures the moment that made the hits possible and the feuds inevitable, via a whirl of archive footage and interviews new and old.
    • 80 Metascore
    • 100 Robbie Collin
    Bergman Island
    A late narrative gambit made me worry that Hansen-Løve was pushing her conceit a little too far into the realm of the meta, but it pays off with thrilling clarity and elegance.
    • 68 Metascore
    • 60 Robbie Collin
    Everything Went Fine
    This controlled unveiling of a fuller picture is certainly engaging, but the film has the respectful air of a tribute – to Bernheim, as opposed to her father – and its sheer seemliness means it lacks the intellectual and erotic fizz of Ozon’s best work.
    • 53 Metascore
    • 40 Robbie Collin
    Flag Day
    Dylan and Penn do share a few lovely scenes . . . . In such moments, the project suddenly and charmingly perks up. The rest of the time, ‘flag’ is about right.
    • 60 Metascore
    • 40 Robbie Collin
    Stillwater
    McCarthy keeps dragging the film away from thriller and procedural territory and back to this blossoming domestic setup – but while Damon and the kid share some cute scenes, it simply isn’t that interesting, and all the would-be colour (see: Virginie’s acting career) adds nothing but extraneous detail.
    • 67 Metascore
    • 100 Robbie Collin
    Annette
    Carax has an unparalleled knack for constructing scenes that feel like vividly remembered dreams – some of the images here carry such a strange dual charge, by turns eerie and drily comic, that you find yourself wondering afterwards if they actually happened, or if your subconscious has been playing join-the-dots.
    • 56 Metascore
    • 40 Robbie Collin
    French Exit
    It’s the kind of format that works as long as the characters aren’t all completely unbearable – which is, alas, not the case here.
    • 67 Metascore
    • 80 Robbie Collin
    Freaky
    When it’s in the mood, horror can be a sexually subversive genre; it can also be a flagrantly non-PC one. Freaky treads a treacherous line between the two with aplomb.
    • 67 Metascore
    • 40 Robbie Collin
    Fear Street Part One: 1994
    There’s an unmistakeable timidity to director Leigh Janiak and Phil Graziadei’s screenplay: it feels odd to watch an 18-rated horror that feels as if it’s going out of its way not to offend.
    • 68 Metascore
    • 60 Robbie Collin
    Black Widow
    For the most part it’s as briskly enjoyable as the studio’s output tends to be, with likeable characters trading polished repartee while large computer-generated objects explode convincingly in the background. Yet perhaps for the first time, the briskness often doesn’t sit right with the material at hand.
    • 58 Metascore
    • 60 Robbie Collin
    F9: The Fast Saga
    When the film gets up to speed it remains dependable fun, but the steering’s spongy, the acceleration sluggish. The journey continues, but the saga is running out of road.
    • 32 Metascore
    • 20 Robbie Collin
    The Hitman's Wife's Bodyguard
    In place of Bay’s provocative humour and unparalleled eye for destructive spectacle are brain-numbing quantities of strong language, action scenes that look as if they were edited with a knife and fork, and a blasé attitude towards violence that renders every shootout pointless, since the bad guys are invariably mown down in seconds while the heroes saunter off with barely a scratch.
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