Robbie Collin
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For 173 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 4.2 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Like Someone in Love
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Positive: 82 out of 173
  2. Negative: 14 out of 173
173 movie reviews
    • 80 Metascore
    • 100 Robbie Collin
    It is one of the year’s very best films, a great, rumbling thunderclap of genius.
    • 92 Metascore
    • 100 Robbie Collin
    This is instant A-list Coens; enigmatic, exhilarating, irresistible.
    • 78 Metascore
    • 100 Robbie Collin
    This is a masterpiece of serious cinema; long, slow and grave as the grave.
    • 86 Metascore
    • 100 Robbie Collin
    A shimmering coup de cinema to make your heart burst, your mind swim and your soul roar.
    • 83 Metascore
    • 100 Robbie Collin
    So hauntingly perfect is Barnard’s film, and so skin-pricklingly alive does it make you feel to watch it, that at first you can hardly believe the sum of what you have seen.
    • 88 Metascore
    • 100 Robbie Collin
    It is an extraordinary, prolonged popping-candy explosion of pleasure, sadness, anger, lust and hope.
    • 76 Metascore
    • 100 Robbie Collin
    Like Someone in Love, is another miracle at close quarters. Its subject is the impossibility of intimacy in the modern world: chewy stuff, to be sure, but Kiarostami explores it with a depth and delicacy that recalls the Japanese master Yasujiro Ozu.
    • 73 Metascore
    • 100 Robbie Collin
    Wheatley’s extraordinary film shakes you back and forth with a rare ferocity, but the net result is stillness.
    • 64 Metascore
    • 100 Robbie Collin
    At first, watching Pacific Rim feels like rediscovering a favourite childhood cartoon – but del Toro has flooded the project with such affection and artistry that, rather than smiling nostalgically, you find yourself enchanted all over again.
    • 76 Metascore
    • 100 Robbie Collin
    Mikkelsen, who is not given to sympathetic roles, has never been better. This is cinema that sinks its claws into your back.
    • 96 Metascore
    • 100 Robbie Collin
    A science-fiction thriller of rare and diamond-hard brilliance.
    • 84 Metascore
    • 100 Robbie Collin
    Every shot of Stray Dogs has been built with utter formal mastery; every sequence exerts an almost telepathic grip.
    • 78 Metascore
    • 100 Robbie Collin
    Glazer’s astonishing film takes you to a place where the everyday becomes suddenly strange, and fear and seduction become one and the same.
    • 75 Metascore
    • 100 Robbie Collin
    As hot and wet as freshly butchered meat: every second, every frame of its three-hour running time is virile with a lifetime’s accumulated genius.
    • 73 Metascore
    • 100 Robbie Collin
    Kore-eda has crafted a piercing, tender poem about the bittersweet ebb and flow of paternal love, and his status as Ozu's heir becomes ever more assured.
    • 100 Metascore
    • 100 Robbie Collin
    It’s an astonishing achievement. Linklater and his cast, who helped refine the director’s script, perfectly execute how long it takes us to become the lead characters in our own lives, and how fumblingly the role is first assumed.
    • 82 Metascore
    • 100 Robbie Collin
    Miller finds grand, America-describing themes in the interactions between these three men: the extraordinary influence of inherited wealth, the hunkered-down ambition of working-class athletes, the equation of material success with honour and moral rectitude.
    • 76 Metascore
    • 100 Robbie Collin
    The film comes and goes without commotion, but its magic settles on you as softly and as steadily as dust.
    • 95 Metascore
    • 100 Robbie Collin
    Beyond the troughful of fun tics, Spall makes Turner tenderly and totally human — the effect of which is to make his artistic talents seem even more extraordinary still.
    • 72 Metascore
    • 100 Robbie Collin
    There’s so much in this seething cauldron of a film, so many film-industry neuroses exposed and horrors nested within horrors, that one viewing is too much, and not nearly enough. Cronenberg has made a film that you want to unsee – and then see and unsee again.
    • 89 Metascore
    • 100 Robbie Collin
    Spectacular, star-powered cinema that makes us ask anew what cinema is for. Call it a "Dark Knight" of the soul.
    • 81 Metascore
    • 100 Robbie Collin
    The film is stupendous: as antic as Boogie Nights and Punch-Drunk Love, but with The Master and There Will Be Blood’s uncanny feel for the swell and ebb of history.
    • 74 Metascore
    • 100 Robbie Collin
    Interstellar is Nolan’s best and most brazenly ambitious film to date.
    • 62 Metascore
    • 80 Robbie Collin
    Black has an instinctive feel for balancing action set-pieces against the passages of soap-opera that are required to make them matter.
    • 65 Metascore
    • 80 Robbie Collin
    Paradise: Love flits nimbly between humour and sadness, and treats potentially ponderous themes such as sex, race and the rancid legacy of colonialism with a welcome light touch.
    • 60 Metascore
    • 80 Robbie Collin
    Love is All You Need has been made for an audience rarely catered for by the film industry: intelligent adults who enjoy perceptive and good-hearted drama.
    • 82 Metascore
    • 80 Robbie Collin
    Flies buzz, sweat trickles, negotiations continue, and you feel your breath dry up.
    • 66 Metascore
    • 80 Robbie Collin
    Coppola’s uproarious and bitingly timely film feels every inch a necessary artwork.
    • 86 Metascore
    • 80 Robbie Collin
    This is a resounding return to form for Payne: there are moments that recall his earlier road movies About Schmidt and Sideways, but it has a wistful, shuffling, grizzly-bearish rhythm all of its own.
    • 79 Metascore
    • 80 Robbie Collin
    The real reason to see this is Swinton and Hiddleston’s sexy, pallid double act: two old souls in hot bodies who have long tired of this Earth, but have nowhere else to make their home.

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