Robbie Collin

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For 269 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 5.3 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 The Assassin
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Negative: 19 out of 269
269 movie reviews
    • 65 Metascore
    • 60 Robbie Collin
    It’s a chewy watch, heavy on the socio-political carbs, and its method can be a little exhausting. But its determination to do right by its subject – and Gitai’s own country too – is soberly compelling.
    • 66 Metascore
    • 60 Robbie Collin
    Alpha Papa’s biggest laughs explode from moments of pure inconsequence.
    • 64 Metascore
    • 60 Robbie Collin
    There are lightning-flashes of pure, ornamental brilliance throughout Paolo Sorrentino’s Youth, although there’s not much happening on the landscape they illuminate.
    • 67 Metascore
    • 60 Robbie Collin
    While there’s nothing here to remotely trouble young minds, there’s nothing much to stick in them either. For the most part, the film just seems to waft along, and though Charlie Brown's life is low-key by nature, the stories are mostly flimsily low-impact.
    • 58 Metascore
    • 60 Robbie Collin
    Sisters is entertaining as far as it goes, but it only occasionally feels like it’s going far enough.
    • 77 Metascore
    • 60 Robbie Collin
    The film unquestionably dices with slightness. But you don’t leave the cinema feeling that something was missing, and Tomlin, who appears in every scene, constructs a persuasive and highly watchable character.
    • 72 Metascore
    • 60 Robbie Collin
    Eastwood doesn’t care about the legend. Instead, he shows us Kyle much as he saw his targets: with that strange combination of extreme intimacy and extreme remove that a long-range sight confers.
    • 68 Metascore
    • 60 Robbie Collin
    Wan’s film is a sturdily built supernatural chiller, with next-to-no digital effects or gore, and it delivers its scares with a breezy lack of urgency.
    • 36 Metascore
    • 60 Robbie Collin
    As supposedly taboo-smashing comedy, it’s never on full thrust, settling more for tentative gags with underwear firmly in place.
    • 74 Metascore
    • 60 Robbie Collin
    Joe
    Joe represents a return to the independent-spirited storytelling that characterised Green’s early career.
    • 43 Metascore
    • 60 Robbie Collin
    You see San Francisco and Los Angeles falling apart very loudly and dangerously, and in great computer-generated detail. But there’s nothing memorable or beautiful about the carnage; no specific moments to replay in your head once the film is over.
    • 51 Metascore
    • 60 Robbie Collin
    There’s no question The Rewrite is underpinned by the same story mechanisms it draws attention to... But there are moments here when sunlight breaks through the shtick.
    • 62 Metascore
    • 60 Robbie Collin
    The film moves like a pyjama case full of angry weasels, and finds ingenious ways to cram every scene with just one more loopy, disposable gag or slapstick thwack. It may not be the year’s best animated film, but it’s almost certainly the most.
    • 55 Metascore
    • 60 Robbie Collin
    About Time is itself a film less directed than quilted: it’s a feathery old patchwork under which you might snuggle at the end of a tiring week.
    • 67 Metascore
    • 60 Robbie Collin
    I’ve always enjoyed the idea of the Fast & Furious films more than their execution, but this feels like the series’ strongest, even though some of its action sequences are so muddled they can barely walk straight.
    • 37 Metascore
    • 60 Robbie Collin
    Only God Forgives is the spectacle of a brilliant young director spinning out in style. It’s a beautiful disaster.
    • 87 Metascore
    • 60 Robbie Collin
    The film’s scope is limited, but as far as it goes, All Is Lost is very good indeed: a neat idea, very nimbly executed.
    • 46 Metascore
    • 60 Robbie Collin
    Sin City 2 glowers and sulks and is determined to show you the best bad time you’ve had in years. It’s neither high art nor noir, but it’s what a Sin City film should be.
    • 44 Metascore
    • 60 Robbie Collin
    The key to the film’s success, and the reason it often left me hooting with laughter, is Aniston, and her character’s struggle in vain to maintain her sweetheart persona.
    • 74 Metascore
    • 60 Robbie Collin
    His recollections are as sobering as his images, and a great many of both will embed themselves in your head.
    • 40 Metascore
    • 60 Robbie Collin
    Director Camille Delamarre and Luc Besson, who co-wrote the screenplay, relocate the story to Detroit and tone down some of its (admittedly broad) social satire — although the Parkour remains centre-stage, and is mostly hair-raising.
    • 32 Metascore
    • 60 Robbie Collin
    Transformers has ambition and attitude in its pores, and spectacle to spare. Bay shoots cars like they’re women, and people like they’re cars, and tosses around metal like it’s made from thin air. The film wasn’t meant to make you think, but it does. For better or worse, it’s cinema.
    • 58 Metascore
    • 60 Robbie Collin
    Of course it’s lightweight, bordering on disposable.... But it’s also genuinely warm-spirited, with three lovable central performances from Gadon, Powley and Reynor
    • 65 Metascore
    • 60 Robbie Collin
    The fourth-wall-smashing is fun in a Ferris Bueller kind of way, but it’s never pulled off with the devious panache of Blazing Saddles, let alone Funny Games or Hellzapoppin’. Since it's this stuff, rather than the ongoing thud-thud-thud of bad language and gore, that feels mould-breaking, it’s a pity Rhett Reese and Paul Wernick’s screenplay doesn’t have the courage to experiment a little more.
    • 63 Metascore
    • 60 Robbie Collin
    A searching, timely drama about the dehumanising effects of waging war at a distance.
    • 48 Metascore
    • 60 Robbie Collin
    If 300’s human touch largely came down to Butler’s roaring and screaming, it’s left entirely to Green to goose the sequel into life. Happily she obliges.
    • 52 Metascore
    • 60 Robbie Collin
    This is bold and uncompromising stuff from Scott; a Biblical epic to shake your faith in the order of things, not reaffirm it.
    • 64 Metascore
    • 60 Robbie Collin
    Mockingjay – Part 1 is all queue, no roller-coaster. The third of four films in the successful and admirable Hunger Games series is any number of good things: intense, stylish, topical, well-acted. But the one thing it could never be called is satisfying.
    • 37 Metascore
    • 60 Robbie Collin
    The Lone Ranger is a grand folly that, in a sane world at least, would never have been made, although I’m really rather glad someone did.
    • 47 Metascore
    • 60 Robbie Collin
    The third Night at the Museum film starts strongly, with its heart in the past... It’s an exciting opening, and perhaps too exciting for the film’s own good. It’s hard not to be disappointed when the plot moves back to the present and settles into the time-honoured formula of digitised creatures running riot and famous people in fancy dress doing shtick.

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