Robbie Collin

Select another critic »
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
view
per page
    • 63 Metascore
    • 80 Robbie Collin
    The Creator
    In every shot, the mix of gritty local colour and artful digital augmentations is riveting: you’re always vaguely aware that what you’re looking at can’t all be real, but the line which splits reality from fantasy is impossible to spot.
    • 30 Metascore
    • 20 Robbie Collin
    Expend4bles
    How can it be possible that nine years have passed since the previous instalment, yet every facet of this one feels so woefully first-draft? Expend4bles: wh4t a lo4d of cr4p.
    • 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.
    • 80 Metascore
    • 80 Robbie Collin
    The Beast
    On a first viewing, I wasn’t quite convinced by some of the glitchy japes Bonello deploys here and there . . . But perhaps he wants us to think of the film itself like its torn heroine: a strange machine whose ghost refuses to give up.
    • 82 Metascore
    • 80 Robbie Collin
    Hit Man
    Hit Man trips along on great writing, Linklater’s witty, light-touch direction and a rich sense of place, but what makes it especially pleasurable is Powell and Arjona’s naturally steamy rapport.
    • 45 Metascore
    • 20 Robbie Collin
    DogMan
    There was barely a scene in Dogman that didn’t have me yelping in disbelief.
    • 64 Metascore
    • 60 Robbie Collin
    Coup de Chance
    Given his otherwise grim recent form, Allen himself may have simply got lucky with this one, but the charm and sparkle here are real.
    • 70 Metascore
    • 80 Robbie Collin
    War Pony
    The vibe is documentary plus poetry – a little Andrea Arnold, a little Chloé Zhao – with symbolic touches that might have felt a bit much (see: recurring visions of bison) had they not been so carefully leavened with down-to-earth warmth and wit.
    • 79 Metascore
    • 80 Robbie Collin
    Priscilla
    The film’s signature move is poking around the strange psychological grey space between being kept and being caught.
    • 73 Metascore
    • 80 Robbie Collin
    The Killer
    Much of the pleasure of the film is in procedure: watching someone work diligently and knowledgeably towards a goal that just happens to be murder. But a darkly fun tension emerges between its anti-hero’s internalised principles and how he actually behaves when pressed.
    • 77 Metascore
    • 100 Robbie Collin
    Maestro
    Not everything in it lands cleanly, but even its misses excite, and its direct hits are knockouts.
    • 88 Metascore
    • 100 Robbie Collin
    Poor Things
    This triumphant adaptation, which premiered last night at Venice, strip-mines Gray’s book for all its funniest, fizziest and sexiest ideas, and leaves the chewier, more literary stuff on paper, where it belongs. I’d say purists might bridle, but speaking as one of them, I wasn’t just relieved, but overjoyed.
    • 85 Metascore
    • 80 Robbie Collin
    The Wonderful Story of Henry Sugar
    This being a Wes Anderson film, it almost goes without saying the details are delectable.
    • 73 Metascore
    • 80 Robbie Collin
    Ferrari
    The crash scenes have a horrible heart-in-mouth quality: it’s as if you can feel the tumble of gravity working on your own insides. And the same goes for the racing itself, which like the vehicles is somehow sleek and crunchy all at once – inches from disaster at any given moment, and all the more beautiful for it.
    • 43 Metascore
    • 40 Robbie Collin
    Comandante
    It offers a selection of sweaty, string-vesty, bulgy-bare-armsy scenes from the life of the real-life submarine commander Salvatore Todaro, played here by Pierfranceso Favino. It isn’t dreadful.
    • 70 Metascore
    • 100 Robbie Collin
    Theater Camp
    Theater Camp’s comedy springs entirely from personality: the jokes aren’t really quotable because they depend on you knowing who’s making them to work.
    • 74 Metascore
    • 80 Robbie Collin
    Scrapper
    Scrapper rummages around with style. It puts bubbles in the kitchen sink.
    • 67 Metascore
    • 60 Robbie Collin
    The Blackening
    The film’s tendency to go broad wherever possible renders it fairly un-scary, while in place of Get Out’s deep and needling cultural allegory we instead get pointed jabs at American film and television trends. It’s all good fun as far as it goes, but Story and his cast could have afforded to sharpen their own blades a bit.
    • 74 Metascore
    • 40 Robbie Collin
    Joy Ride
    The problem isn’t that this unusual combination of genres doesn’t click. It’s that the jokes are so stale, the performances so broad, and the plot so greased up with improbable short cuts, that Audrey’s journey feels less like a voyage of self-discovery than a coach tour of the form’s dustiest landmarks.
    • 40 Metascore
    • 40 Robbie Collin
    Meg 2: The Trench
    Meg 2, by design, is a completely anonymous bag of lukewarm McDonalds – it’s hard to be mad at it, but only because nothing in it stands out enough to get mad at.
    • 74 Metascore
    • 80 Robbie Collin
    Teenage Mutant Ninja Turtles: Mutant Mayhem
    It’s summer-holiday eye candy with a sherbetty experimental fizz.
    • 47 Metascore
    • 40 Robbie Collin
    Haunted Mansion
    This spooky theme-park spin-off has its moments, but the plot is creakier than the floorboards, and why is it over two hours long?
    • 47 Metascore
    • 40 Robbie Collin
    Greatest Days
    Far too much of it still feels scaled to the stage. Comic material that in a theatre might have simply played as broad comes across as forehead-smashingly crass, while the dramatic shorthand in the grown-up scenes turns that whole section of the story into a conveyor belt of clichés.
    • 90 Metascore
    • 100 Robbie Collin
    Oppenheimer
    Christopher Nolan's portrait of the father of the nuclear bomb is a triumph, like witnessing history itself being split open.
    • 80 Metascore
    • 80 Robbie Collin
    Barbie
    Greta Gerwig takes on feminism and the patriarchy in this hilarious, deeply bizarre film.
    • 47 Metascore
    • 40 Robbie Collin
    Bird Box Barcelona
    The Bird Box beasts may be back in business, and perhaps in films to come we might even get a proper look at one. But it’s hard not to feel the apocalypse has moved on without them.
    • 74 Metascore
    • 80 Robbie Collin
    Smoking Causes Coughing
    It’s all so giddily bizarre, the film deserves a health warning of its own: will induce (entirely pleasurable) lightheadedness and shortness of breath.
    • 73 Metascore
    • 40 Robbie Collin
    Wham!
    Director Chris Smith builds the film around Ridgeley’s mother’s scrapbooks of photographs and memorabilia – and perhaps partly because of that, it ends up feeling like little more than a leaf through the milestones. It’s been made for the fans, but they’ll know every last detail already: it’s pop history as singalong.
    • 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.
    • 59 Metascore
    • 40 Robbie Collin
    No Hard Feelings
    It’s not simply that its various comedic scenarios aren’t funny (though they aren’t); or that all of its would-be snappy one-liners drop on the floor like wet socks (though they do), or that the timing is so off that it feels like the film was edited with a spork. It’s that nobody on screen, Lawrence included, seems remotely invested in the exercise in the first place.
Page:

Top Trailers

See all »
See all trailers »