K. Austin Collins

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For 186 reviews, this critic has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 2.1 points higher than other critics. (0-100 point scale)

K. Austin Collins' Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 Small Axe: Lovers Rock
Lowest review score: 30 Infinite
Score distribution:
  1. Negative: 7 out of 186
186 movie reviews
    • 81 Metascore
    • 60 K. Austin Collins
    It’s a fresh-faced gloss on the original, in other words, powered, like the original, by a star who’ll simply never stop being a star. The big mission makes for the most exciting moment; the build-up is worthwhile. When Maverick goes its own way, it tends to lose itself.
    • 82 Metascore
    • 80 K. Austin Collins
    It’s an oft-stunning visual feast and an entertaining peek into Eggers’ instincts as a choreographer not only of historical detail but of bloody action. It is also an instructive example of how the most visionary intentions can’t always enliven an otherwise rote story.
    • 62 Metascore
    • 60 K. Austin Collins
    All the Old Knives is brief enough, politely suspenseful enough, for its stars to carry without much hassle.
    • 53 Metascore
    • 50 K. Austin Collins
    What starts as one of those rare, unplaceable, maybe-satire, maybe-camp, high-wire pop confections morphs into a fairly straightforward biopic about a beloved superstar that seems overly wary of pissing off a living idol.
    • 81 Metascore
    • 70 K. Austin Collins
    It’s comically postmodern to the point of feeling almost retro, which also describes Everything Everywhere’s sense of action, its enriched sense of comedy colliding violence, practical materials (like fanny packs) taking their ranks amid the physically superhuman feats of choreography — a mix many of us rightly associate with Jackie Chan.
    • 53 Metascore
    • 50 K. Austin Collins
    The movie has the makings of a devious erotic game, of a dirty pas-de-deux that spills out of the Van Allens’ marital bed and into a friend’s pool, a nearby quarry, and the woods. But the movie doesn’t quite have the backbone it’d need, or even the sense of fun, to clarify the extent to which this is a game that both players know they’re playing.
    • 87 Metascore
    • 80 K. Austin Collins
    The Tragedy of Macbeth is Joel’s first outing on his own but, in this regard, he’s made a movie that suits the broader world of his work. That he’s done so most cogently through a character most other approaches to this play have barely noticed only makes it that much more thrilling.
    • 86 Metascore
    • 80 K. Austin Collins
    Colman brings Ferrante’s creation to life with all the withering pathos she deserves. Gyllenhaal catches it handsomely, awe-struck, as if even she didn’t know how painfully real this woman Leda could seem or, in Colman’s hands, be.
    • 63 Metascore
    • 80 K. Austin Collins
    I was moved, impressed — far more than I expected to be. The emotional engineering of The Matrix Resurrections is exacting and rapturous.
    • 82 Metascore
    • 80 K. Austin Collins
    Deeply felt sincerity of the kind that Mills offers can be a tough pill. You kind of have to be in the mood. But this isn’t a film that works despite those excesses. Instead, it makes a case for them.
    • 76 Metascore
    • 80 K. Austin Collins
    Despite its well-worn triumphant narrative, King Richard proves convincing at giving credence to the idea of Williams as a fact already stranger than fiction — the kind of man you can’t help but feel is a real character, in the everyday-life sense of that phrase: a one-of-a-kind guy, hard to reproduce.
    • 68 Metascore
    • 70 K. Austin Collins
    The Harder They Fall is a good piece of wish-fulfillment pop. It knows what it is. It’s accomplished enough not to be mistaken for what it isn’t trying to be.
    • 52 Metascore
    • 40 K. Austin Collins
    Eternals is good at telling us where to look, at impressing us with its manufactured sense of grandeur. What it lacks is any credible sense of what’s actually worth seeing.
    • 74 Metascore
    • 70 K. Austin Collins
    Even when the film doesn’t entirely work, there is, simply, joy in watching Anderson work.
    • 74 Metascore
    • 70 K. Austin Collins
    It takes seriously the challenge of adapting a seemingly unadaptable novel, and keeping all its big-picture implications in full view. It earns its distinction as a faithful adaptation — and proves a satisfying movie, too.
    • 87 Metascore
    • 70 K. Austin Collins
    The movie makes you wish you were there. Lights darkened, dots and rays and Reed flickering before us, we nearly are.
    • 75 Metascore
    • 70 K. Austin Collins
    Yes, it’s a gender-morphing, misery-and-mystery tour of sensational and at times incomprehensible events, rife with questionable life choices and odd twists of fate. There are absolutely ideas at work here about gender and sex and all the rest. But it’s the movie’s sense of play that feels most striking.
    • 68 Metascore
    • 60 K. Austin Collins
    Complicated, overly talkative, a little too slow and not-infrequently rote, the movie is just the ride we’ve hitched to the Departures gate. It’s Craig we’ve come here to see — and see off. And off he goes.
    • 49 Metascore
    • 70 K. Austin Collins
    Carnage is for the most part, in ways that count, another dirtbag delight. It’s a lesser movie than Venom, but one that scratches many of the same itches and then some.
    • 63 Metascore
    • 60 K. Austin Collins
    Even with its familiar visual and dramatic approach — the extent to which we are firmly, subjectively pushed into Joseph’s world and made to tumble around for a while amid his unpredictable behaviors — the movie packs an odd little punch.
    • 77 Metascore
    • 60 K. Austin Collins
    The movie has real moral terror at its center. It gets ugly: It gives that word fresh resonance. This is where it gets things right — what will, one hopes, make it worth remembering.
    • 58 Metascore
    • 60 K. Austin Collins
    In a moral universe so keenly prescribed as this, the goodness we see in Cry Macho — goodness that seems to come with age or, as in the case of Marta and Mike both, after great sacrifice — resounds even as, scene to scene, the movie feels shaky.
    • 71 Metascore
    • 70 K. Austin Collins
    The promise of Shang-Chi, which is as much martial-arts movie as it is standard superhero origin fare, is that a lot of people will get their asses kicked: sometimes gracefully, even beautifully, and other times with the battering-ram power you can expect of a movie advertising 10 rings at play.
    • 72 Metascore
    • 50 K. Austin Collins
    What the movie’s effortful attempts at symbolism and meaning do most effectively are undercut what’s smart about the questions it raises — and DaCosta’s fine hand at creeping us out. The movie wants to be more than it is. The result is that it winds up amounting to less than it could have been.
    • 61 Metascore
    • 60 K. Austin Collins
    [Franklin's] music blows the movie out of the water — and the movie, at its best, is wise to let itself get blown away.
    • 68 Metascore
    • 70 K. Austin Collins
    Homeroom’s power in is allowing us — encouraging us — to hear these students out for themselves, bearing witness to political identities in the midst of their formation, still molten and moldable and all the more useful to see for that fact.
    • 52 Metascore
    • 60 K. Austin Collins
    The premise is ripe; the thrills are rich; the payoff doesn’t come together quite as easily as the rest.
    • 72 Metascore
    • 60 K. Austin Collins
    The movie is too much, too long, but not lacking in its glories. To find them, follow Harley. She’s leading the way.
    • 60 Metascore
    • 60 K. Austin Collins
    The movie’s attentive sense of noticing makes its flaws, its leaps in logic, easier to notice. But this seems to matter less to the filmmakers than what the style has to offer the movie in terms of a message; on this front, Stillwater is tellingly consistent.
    • 85 Metascore
    • 90 K. Austin Collins
    This being a Lowery tale, the monolithic, the overwhelming, are only more powerful for being rendered in intimate, miniaturized terms. The creepiness creeps just that much more; fear is heightened; fantasies, mysteries tingle with a sense of the unpredictable.

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