• Network: HBO
  • Series Premiere Date: Jul 16, 2018
Metascore
78

Generally favorable reviews - based on 19 Critic Reviews

Critic score distribution:
  1. Positive: 18 out of 19
  2. Negative: 0 out of 19

Critic Reviews

  1. Reviewed by: Mick LaSalle
    Jul 13, 2018
    100
    Robin Williams: Come Inside My Mind captures that special quality that Williams had, the extra quality that went beyond the laughs, that communicated his whole being.
  2. TV Guide Magazine
    Reviewed by: Matt Roush
    Jul 13, 2018
    100
    Lovely two-hour tribute. [9 - 22 Jul 2018, p.13]
  3. Reviewed by: Mark A. Perigard
    Jul 16, 2018
    91
    The two-hour documentary Robin Williams: Come Inside My Mind captures the magic and the mania that was the iconic comic. Bursting with hilarious clips and bloopers, it’s almost as good as having Williams back.
  4. Reviewed by: Richard Roeper
    Dec 14, 2018
    88
    A fine tribute of a film.
  5. Reviewed by: Sophie Gilbert
    Jul 16, 2018
    80
    The pleasure of Come Inside My Mind is in the opportunity it offers to spend time with Williams, not just as a performer, but as a spirit whose exuberance was so contagious and so winning that his death in 2014 felt to many like a personal loss.
  6. Reviewed by: Bruce Miller
    Jul 16, 2018
    80
    Come Inside My Mind brings tears repeatedly, but it also gives Williams life. Those moments on stage (particularly during “Comic Relief,” which showed him at his best) pop.
  7. Reviewed by: Mark Dawidziak
    Jul 16, 2018
    80
    A lovingly crafted tribute offering many laughs, a few tears, some intriguing insights and just a constant swarm of warm memories.
  8. Reviewed by: Robert Lloyd
    Jul 16, 2018
    80
    It's an intimate, largely inside look at the actor-comic, a mosaic of clips and commentary from those who knew him pretty to very well. It will reinforce, not remake, his public image as a private sort of public person; a sensitive, sometimes insecure soul strapped to a rocket ship mind, a long-distance sprinter.
  9. Reviewed by: Mike Hale
    Jul 16, 2018
    80
    Ms. Zenovich manages seriousness without sentimentality or mawkishness. She doesn’t solve any mysteries, but she leaves you feeling that you know Robin Williams about as well as he’d let you.
  10. Reviewed by: Owen Gleiberman
    Jul 13, 2018
    80
    A documentary that’s sharp-edged, humane, and deeply researched enough to take you closer to the manic engine of Williams’ brilliance and pain than you were before.
  11. Reviewed by: Matthew Gilbert
    Jul 13, 2018
    80
    As a general survey of Williams’s life, as a collection of precious backstage outtakes, and as a nostalgic trip back into his comedy stylings, Robin Williams: Come Inside My Mind does the trick. It’s a sad, but satisfying, visit with a special man.
  12. Reviewed by: Kristi Turnquist
    Jul 13, 2018
    80
    Though many aspects of Williams’ life were sad, for two hours, Robin Williams: Come Inside My Mind brings him back to life, showcasing the brilliance, impact, and vulnerability that made Williams special, and that make his death still feel like such a loss.
  13. Reviewed by: Dorothy Rabinowitz
    Jul 13, 2018
    80
    It comes with immense relief, therefore, to discover after most of an hour the beginnings of a true biographical portrait, a kind that continues to grow in strength to the end. It’s a success largely abetted by an assortment of commentators, longtime friends of Williams--among them comedians like Billy Crystal, Eric Idle and Steve Martin--who provide telling observations.
  14. Reviewed by: Matt Goldberg
    Jul 13, 2018
    75
    What Zenovich is able to show consistently through Come Inside My Mind is that Williams, despite a unique and iconic persona, had a remarkable amount of diversity in his life and career. Where the documentary really shines is in trying to drill down and figure out the creative impulse in Williams.
  15. Reviewed by: John DeFore
    Jul 13, 2018
    70
    Viewers will walk away from this film without knowing the answer to Lipton's question--are the mechanics of Williams' intense and unpredictable riffs even knowable?--but they will likely be refreshed by a cleansing exposure to his talent, a film that doesn't shy from the well-known darkness in the star's life but prefers to remind us how funny he could be.
  16. Reviewed by: Erik Adams
    Jul 16, 2018
    67
    You may come away from Come Inside My Mind with a better understanding of who Robin Williams was, but a likelier takeaway is in the reaction of that HBO On Location crowd: the laughs, the sense of awe, the expressions that all but say, “How did he do that?”
  17. Reviewed by: Odie Henderson
    Jul 13, 2018
    63
    One is left feeling that this is the generically structured and tamer “approved” version of a much richer story.
  18. Reviewed by: Verne Gay
    Jul 13, 2018
    63
    While this is the In Memoriam tribute that Williams so richly deserves and fans need, the title is misleading because that mind remains out of reach.
  19. Reviewed by: Inkoo Kang
    Jul 13, 2018
    40
    You can feel the absence of things left out or glossed over, a tingle that lets you know you’re being manipulated--and not especially well. The new HBO documentary Robin Williams: Come Into My Mind should give viewers a lot of these tingles.
User Score
8.0

Generally favorable reviews- based on 11 Ratings

User score distribution:
  1. Positive: 9 out of 11
  2. Negative: 0 out of 11
  1. Nov 13, 2020
    7
    A rudimentary bio-doc that isn't very insightful, but which features excellent archival material

    Directed by Marina Zenovich, Robin Williams:
    A rudimentary bio-doc that isn't very insightful, but which features excellent archival material

    Directed by Marina Zenovich, Robin Williams: Come Inside My Mind is a rudimentary bio-doc that fails to live up to its subtitle. It asks questions about Williams, gives him a platform, marvels at his on-stage energy, but never manages to elucidate much in the way of psychological insight. Perhaps a little too respectful of her subject, Zenovich avoids hagiography, but so too does she gloss over some of the darker aspects, although it's certainly laudable that she refuses to allow the manner of his death become the defining moment of his life. What the film does have going for it, however, is the archival footage, which shows Williams at the height of his powers. And, ultimately, the quality of this footage offsets the film's failure to offer a deep dive into his thought-processes.

    Featuring interviews with people such as Billy Crystal, Steve Martin, Whoopi Goldberg, and Pam Dawber, the film includes clips from Williams's 1986 performance at the Met Opera House; the outtakes from his improvisations explaining the uses of a stick during a 1991 appearance on Sesame Street; and his improvised "acceptance speech" at the 2003 Critics Choice Awards, where he was nominated for Best Actor alongside Jack Nicholson and Daniel Day-Lewis, and the result was a draw between Nicholson and Day-Lewis ("it's been a wonderful evening for me, to walk away with nothing; coming here with no expectations, leaving here with no expectations. It's pretty much been a Buddhist evening for me").

    From a biographical perspective, the film details such events as his 1973 scholarship to Juilliard, where he and Christopher Reeve were the only students selected by John Houseman to join the Advanced Program; how the death of John Belushi led to Williams getting clean; his celebrated appearance alongside Steve Martin in Mike Nichols's 1988 production of Waiting for Godot at the Lincoln Centre; checking himself into rehab in 2014 to treat his remerging alcoholism; his diagnosis with early stage Parkinson's; and ultimately, his suicide.

    Also touched on is that his father was a very stern man, and it was when a young Williams saw him laugh at Jonathan Winters, that he first began to consider a career in comedy. Also interesting is how he changed the manner in which sitcoms were shot. When he started on Mork & Mindy in 1978, all American sitcoms were shot with a three-camera set-up (one for the wide shot, the others for close-ups). However, due to his unpredictability, he would rarely stick to his marks, making it impossible for close-ups, as the operators never knew where he was going to go. And so, the show's executive producer Garry Marshall introduced a fourth camera, whose sole purview was to follow Williams.

    The use of audio interviews with Williams, which act as narration, see him more contemplative; "I don't tell jokes, I use characters as a vehicle for me. I seldom just talk as myself." This is, of course, a key admission, and is one of the main themes of the film – the private man hiding behind the public entertainer. However, the film fails to explore this dissonance; it's touched on a few times, but it's never examined in any detail. Indeed, for a film which literally invites the audience into the subject's mind, there's very little of any psychological worth.

    Another problem is Zenovich's unwillingness to depict some of the darker aspects of his life. Lip-service is given to some of it, but nothing more (Elayne Boosler talks about being his girlfriend whilst giving her blessing for him to be with other women; Billy Crystal explains that he was addicted to audience reaction; Steve Martin discusses how difficult he found sobriety). However, apart from these brief moments, Zenovich never examines any of the issues thrown up. And as much as they are glossed over, there's nothing at all on Dawber's claim that Williams fondled her and exposed himself to her on the set of Mork & Mindy, even if only to reiterate that she was never offended or threatened.

    The film's structure is also a little unusual, focusing on his rise in the 70s and 80s and the last few years of his life, without spending a huge amount of time looking at the intervening years. Because of this, when his 2014 suicide comes, it feels very abrupt.

    The argument could be made that Williams was notoriously difficult to know even in real life, hence we shouldn't expect a documentary to lay him bare, but the fact is that Zenovich doesn't really try. And I can't help but think that presenting some of the darker times would have been a more truthful approach; it wouldn't have tarnished his legacy, but it would have made for a deeper film. In the end, Williams was consumed by his demons, but Come Inside My Mind sidelines those same demons as much as possible, hoping, perhaps, that we remember the laughter, without dwelling on the sadness.
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