Tim Robey

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The Telegraph
For 943 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 4.3 points lower than other critics. (0-100 point scale)

Tim Robey's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Roofman
Lowest review score: 0 Cats
Score distribution:
  1. Positive: 340 out of 943
  2. Mixed: 541 out of 943
  3. Negative: 62 out of 943
943 movie reviews
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    • 81 Metascore
    • 80 Tim Robey
    The Dissident
    What with all this material, and the focus on Cengiz and Abdulaziz as key players in the ongoing story, The Dissident has a lot to juggle. We can forgive Fogel if his portrait of Khashoggi himself seems a touch incomplete: with its restless style of activism, the film arguably builds on his legacy better than it would have done as a work of retrospective biography.
    • 85 Metascore
    • 80 Tim Robey
    Eighth Grade
    While Kayla Day is very much a teenager of her precise time and place, her gruelling anxiety – and Fisher’s wonderful yearning in the role – make her universally relatable anyway.
    • 85 Metascore
    • 80 Tim Robey
    Get Out
    The movie rattles with provocations.
    • 85 Metascore
    • 80 Tim Robey
    Ash Is Purest White
    It’s hard to remember the last time an actress aged as convincingly on screen as Zhao Tao does in the melancholic, gently epic Ash Is Purest White.
    • 86 Metascore
    • 80 Tim Robey
    One Fine Morning
    Seydoux has unfakeable chemistry here with a perfect-as-usual Poupaud, the leading man in French cinema who seems most incapable of putting a foot wrong.
    • 57 Metascore
    • 80 Tim Robey
    The Gorge
    What The Gorge does supply is a novel science-fiction premise and some captivating bursts of suspense.
    • 57 Metascore
    • 80 Tim Robey
    Extraction 2
    The sum total is superior in every way to what he dished out last time. With a third one openly teased at the end, the fog has lifted: Hemsworth has landed on his Bourne, and this is his Supremacy.
    • 76 Metascore
    • 80 Tim Robey
    A Monster Calls
    There’s a Spielbergian showmanship to Bayona’s films, wedded to an unabashed emotionalism, and this one reaches for you down in the gut.
    • 61 Metascore
    • 80 Tim Robey
    The Informer
    The Informer is one of the year’s more pleasant genre surprises: a clenched fist of a crime thriller in the mode of The Departed or The Town, in which every element is just a notch smarter than you’d expect. Generic though the film may look, it holds together absorbingly, thanks to a sturdy script which ups stakes and adds characters with cunning and intelligence.
    • 88 Metascore
    • 80 Tim Robey
    Things to Come
    Hansen-Løve and Huppert cup a single life in their hands and ponder the mixed blessing of freedom from a philosophical position: the trade-off between self-sufficiency and aloneness that Nathalie finds herself negotiating.
    • 68 Metascore
    • 80 Tim Robey
    Kensuke's Kingdom
    The film is thoughtful, tender and generally quite beguiling.
    • 95 Metascore
    • 80 Tim Robey
    Aftersun
    The film has a beguiling looseness – it captures that familiar holiday feeling of good days and bad days, or moods turning for no particular reason, other than maybe spending a bit too long in each other’s company.
    • 52 Metascore
    • 80 Tim Robey
    Insidious: Chapter 3
    It manages the all-important jump scares with the finesse of a skilled stage illusionist, but it’s the surprisingly sincere emotional core that makes it the pick of the series.
    • 68 Metascore
    • 80 Tim Robey
    Crime 101
    There’s no breakneck pace, no urge to pulverise the audience with action. Bart Layton’s film is methodical and moody – that mood being one of bone-weary fatigue. These are stuck lives, the products of bad luck and unfortunate choices
    • 85 Metascore
    • 80 Tim Robey
    Decision to Leave
    The shot-making is sensational, and the film knows it; the camera does things you’ve never seen before, say with focus in an interrogation room mirror, and the whole saga’s edited as though Park can’t wait to show you what’s up his sleeve.
    • 71 Metascore
    • 80 Tim Robey
    Memory
    Franco is more skilled at getting us to think: not only about memory loss, but everything we choose to forget and can’t, and how these distinctions make us who we are.
    • 81 Metascore
    • 80 Tim Robey
    A War
    A War does something brave and challenging in making its most sympathetic character responsible for the worst thing that happens in it.
    • 71 Metascore
    • 80 Tim Robey
    Predator: Badlands
    The energy, gruesome thrills and craziness of this flick are hard not to admire.
    • 80 Metascore
    • 80 Tim Robey
    Wildlife
    It’s Dano’s handling of the actors, unsurprisingly, which shows the most confidence.
    • 76 Metascore
    • 80 Tim Robey
    Red Rocket
    Admirers of Baker’s earlier work will have a journey to go on here, first in missing the rowdy companionship of protagonists who weren’t wholly out for themselves. As spectacle, this study of a dirtbag running out of extra lives falls into the category of crowd-baiting, not crowd-pleasing. Mikey, repeatedly, is just the worst.
    • 64 Metascore
    • 80 Tim Robey
    Lion's Den
    It has the desperate vitality of something barely made-up.
    • 71 Metascore
    • 80 Tim Robey
    The Great Escaper
    The film’s strength is its plainness and melancholy, as it sketches the history of a marriage – ardent, in times gone by, and still movingly dedicated.
    • 74 Metascore
    • 80 Tim Robey
    The Golden Dream
    Quemada-Díez thinks in images, and his film is too offhandedly credible in its details to feel like a thesis he’s trying to prove: it’s poetry, not prose.
    • 84 Metascore
    • 80 Tim Robey
    The Square
    It seethes with frustration on its subjects’ behalf – that for all the impact their stand has had, they still face a many-headed hydra on the road to real democracy.
    • 86 Metascore
    • 80 Tim Robey
    Showing Up
    Achieving the gossamer profundity of one of Alice Munro’s short stories, her film is about the uninterrogated privileges success brings and the envy they can easily spawn.
    • 72 Metascore
    • 80 Tim Robey
    Ethel & Ernest
    The backdrop to this very English marriage – soot and grit and survival, and that basenote of touching bafflement – means all the tears are earned.
    • 96 Metascore
    • 80 Tim Robey
    Manchester by the Sea
    Lonergan is so precise with his actors, the sense of place, and the level control of tone that you feel him methodically striving here to avoid false notes.
    • 63 Metascore
    • 80 Tim Robey
    Love and Monsters
    Love and Monsters is mercifully zombie-free, while serving up a refreshingly different vibe from the word go. It’s not mock-heroic in a winking way; it doesn’t seem so pleased with its own punchlines. It’s rueful and shrugging.
    • 77 Metascore
    • 80 Tim Robey
    London - The Modern Babylon
    A dizzying collage of all the changes in London’s social and architectural fabric since light was first trained through celluloid.
    • 60 Metascore
    • 80 Tim Robey
    See How They Run
    Mark Chappell’s script has a refreshingly high laugh-rate as these things go, with a seam of pure English silliness that sets it well apart from Knives Out, without gunning for anything like that league of plot ingenuity. It’s closer, really, to doing for Christie what Scream did for the slasher flick – goosing the formula with winks and tickles.
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