Robbie Collin
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For 145 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 4.4 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Birdman or (The Unexpected Virtues of Ignorance)
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Positive: 69 out of 145
  2. Negative: 13 out of 145
145 movie reviews
    • 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.
    • 96 Metascore
    • 100 Robbie Collin
    A science-fiction thriller of rare and diamond-hard brilliance.
    • 92 Metascore
    • 100 Robbie Collin
    This is instant A-list Coens; enigmatic, exhilarating, irresistible.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 100 Robbie Collin
    It is one of the year’s very best films, a great, rumbling thunderclap of genius.
    • 78 Metascore
    • 100 Robbie Collin
    This is a masterpiece of serious cinema; long, slow and grave as the grave.
    • 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.
    • 73 Metascore
    • 100 Robbie Collin
    Wheatley’s extraordinary film shakes you back and forth with a rare ferocity, but the net result is stillness.
    • 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.
    • 91 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.
    • 89 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.
    • 94 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.
    • 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.
    • 70 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.
    • 97 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.
    • 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.
    • 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
    The animation is photoreal – startlingly and mesmerisingly so. And the depth of feeling the tale of their friendship evokes is matched only by your incredulity, as you paw at your eyes six minutes later, that you are crying about two computer-generated umbrellas.
    • 61 Metascore
    • 80 Robbie Collin
    In lesser hands, Elysium might have played like a Lib Dem manifesto with extra spaceships, but the South African filmmaker wants to explore ideas, not wave placards, and whether or not you agree with the film’s politics, the fire in its belly is catching.
    • 75 Metascore
    • 80 Robbie Collin
    It’s a critic’s instinct to auto-praise any blockbuster that tries to do something different, but Catching Fire is so committed to carrying on the fine work started by its predecessor that the applause flows utterly naturally.
    • 74 Metascore
    • 80 Robbie Collin
    Just squeezably lovely.
    • 68 Metascore
    • 80 Robbie Collin
    Aronofsky’s sixth film is not the Noah you know, but a hundred-million-dollar Chinese whisper; a familiar story made newly poetic and strange with a flavour that’s less Genesis than Revelation.
    • 82 Metascore
    • 80 Robbie Collin
    For a shot of pure forward-leaping, backward-dreaming animated pleasure, pick brick.
    • 76 Metascore
    • 80 Robbie Collin
    The fun of it – and Guardians of the Galaxy specialises in fun, served by the sugar-sprinkled ice-cream-scoopload – is in seeing this odd quintet bluster through space battles and alien brawls that would have defeated anyone smarter and better-equipped. Just as the team makes do with the junk they find around them, the film feels like a mound of gems culled from decades of pop-culture scavenging.
    • 81 Metascore
    • 80 Robbie Collin
    The World’s End is a fitting end to the trilogy: it is by turns trashy, poignant and gut-bustingly funny, and often all three at once.