Robbie Collin

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The Telegraph
For 664 reviews, this critic has graded:
  • 54% higher than the average critic
  • 2% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Robbie Collin's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 The World to Come
Lowest review score: 0 May I Kill U?
Score distribution:
  1. Positive: 344 out of 664
  2. Mixed: 265 out of 664
  3. Negative: 55 out of 664
664 movie reviews
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    • 43 Metascore
    • 20 Robbie Collin
    Mortal Kombat
    To call the film “repellent” would do it too much credit. The combat itself (sorry, kombat) is so clumsily shot and edited that the fights have no discernible dramatic shape or flow, while the fatalities are rendered in bland, businesslike computer graphics that have you yearning for the honest, artisanal gloop-by-the-bucket of a Hellraiser or Nightmare on Elm Street.
    • 81 Metascore
    • 100 Robbie Collin
    The Mitchells vs. The Machines
    The Mitchells vs the Machines is like an encounter with a sentient doodle pad, crammed with ideas that might be the cleverest things anyone’s ever thought of, or the most ludicrous, or probably a jumble of both.
    • 42 Metascore
    • 20 Robbie Collin
    Wild Mountain Thyme
    A film so frivolous and twee I felt as if my brain were leaking out of my nostrils as I watched.
    • 87 Metascore
    • 100 Robbie Collin
    About Endlessness
    He remains a master of composition, subtly guiding your eye towards details that reveal the kind of stories we might usually overlook – in life as well as in the cinema itself.
    • 83 Metascore
    • 80 Robbie Collin
    Palm Springs
    Via breezy metaphysical farce, Palm Springs identifies this very recognisable strain of millennial malaise, before skewering it with merciless accuracy.
    • 11 Metascore
    • 20 Robbie Collin
    Love, Weddings & Other Disasters
    Disasters: well, they said it. The new film from Dennis Dugan is a frighteningly inept stab at a romantic comedy in the Nancy Meyers style.
    • 32 Metascore
    • 20 Robbie Collin
    Tom & Jerry
    Essentially – astonishingly – the Tom and Jerry sections of Tom & Jerry are a sideshow, used to punctuate the human scheming and blundering around Preeta and Ben’s forthcoming nuptials.
    • 44 Metascore
    • 40 Robbie Collin
    Made in Italy
    Those in the market for domestic drama, sexual tension and humorous mishaps against a backdrop of sawing and sweeping would be advised to try any home renovation show over this.
    • 38 Metascore
    • 40 Robbie Collin
    Chaos Walking
    It takes around three minutes for Chaos Walking to fully set out its premise, and around three seconds more for everyone watching to realise it’s not going to work.
    • 59 Metascore
    • 80 Robbie Collin
    Godzilla vs. Kong
    No film has made me ache more for the reopening of cinemas in May than this trashily sublime, visual-effects-driven blare-a-thon, in which a king-sized gorilla and a radioactive lizard settle their differences over the smoking remains of a city or two.
    • 54 Metascore
    • 100 Robbie Collin
    Zack Snyder's Justice League
    It shares a vague shape and a handful of specific, linchpin scenes with its predecessor, but everything about it lands differently: characters that were previously empty or ludicrous now have real grit and depth, while action sequences that were once incoherent, lightweight and garish now number among the most thunderously spectacular in the genre.
    • 54 Metascore
    • 40 Robbie Collin
    Moxie
    One hopes the golden age isn’t quite over yet, although as Moxie galumphs from one glib, soulless scene to the next, it’s hard not to fear the worst.
    • 79 Metascore
    • 80 Robbie Collin
    I'm Your Man
    A sensationally funny and gently science-fictional German rom-com.
    • tbd Metascore
    • 60 Robbie Collin
    Into the Darkness
    Refn and Flemming Quist Møller’s screenplay is very good at showing how a destructive belief system such as Nazism can slowly seep through institutions, thanks to nothing more sinister than ordinary people deciding not to rock the boat.
    • 44 Metascore
    • 40 Robbie Collin
    Cherry
    Cherry might represent a drastic shift in scale, tone and subject matter for its directors and leading man alike, but there’s a blockbuster-sized gap where its point should be.
    • tbd Metascore
    • 60 Robbie Collin
    Dragon Rider
    The film bounces along predictably but charmingly, and parents whose cringe threshold is as low as my own will be relieved to find its sense of humour is gratifyingly un-tacky throughout.
    • 75 Metascore
    • 100 Robbie Collin
    Raya and the Last Dragon
    The film is crammed with so much transporting spectacle and visual invention, it feels epic even at living-room size.
    • 89 Metascore
    • 80 Robbie Collin
    Minari
    The cast’s performances are all so beautifully observed that you may end up wishing the film had given their characters a few more moments of quiet.
    • 73 Metascore
    • 80 Robbie Collin
    Dead Pigs
    Dead Pigs’s intermingling of grit and polish is hugely satisfying: a potent combination of pearls and swine.
    • 54 Metascore
    • 60 Robbie Collin
    Life in a Day 2020
    Macdonald and his team pull out enough affecting stories to hold your interest, whose scopes range from sweeping to intimate.
    • 53 Metascore
    • 20 Robbie Collin
    Malcolm & Marie
    You sense that Washington and Zendaya do both believe in the material, and they certainly throw themselves at it with gusto, but their best moments here are invariably the ones in which they’ve not been given anything to say.
    • 73 Metascore
    • 80 Robbie Collin
    News of the World
    Unusually for a contemporary western, News of the World makes no attempt to reinvent the wheel. Instead, it hammers it diligently back onto the axle, before striking out on a journey whose contours and pitfalls we already know well. Nevertheless, it’s a pleasure to experience it once more with companions like these.
    • 85 Metascore
    • 80 Robbie Collin
    Judas and the Black Messiah
    In some passages, the film abides by the biopic rulebook more carefully than it needs to; its best moments are the ones where King and his cast create some tension then simply let it cook.
    • 60 Metascore
    • 100 Robbie Collin
    In the Earth
    Wheatley and his collaborators have produced something that some of us thought would be impossible: an outrageously entertaining film that feels utterly rooted in the bleak era in which it was made. Lockdown project or not, it’s a milestone.
    • 83 Metascore
    • 100 Robbie Collin
    Saint Maud
    Glass could hardly have asked for two more game accomplices than Clark and Ehle, who play the…well, the you-know-where out of their respective roles, and are both naturally attuned to the film’s murkily sensual, dread-laden wavelength.
    • 52 Metascore
    • 40 Robbie Collin
    Love Sarah
    There is a special cupboard in Purgatory for films that are blissfully unaware of what they’re actually about, and a place is reserved on its shelves for Love Sarah.
    • 26 Metascore
    • 20 Robbie Collin
    Blithe Spirit
    The irresistible comic elegance of the premise – a remarried widower is tormented by the ghost of his first wife – is lost in a mass of pointless embellishments and tinkerings.
    • 73 Metascore
    • 80 Robbie Collin
    The Dig
    The shape of its story is ultimately conventional, and the way in which it’s told can sometimes feel familiar – like a Sunday evening drama smuggling in big ideas. But the line it draws between the earthy and the ethereal stays with you: it’s a well-timed double dose of consolation and escape.
    • 66 Metascore
    • 80 Robbie Collin
    Pieces of a Woman
    Its supremely frank and unflinching treatment of its essentially taboo subject gives it a certain brandy-slug of consolatory warmth, despite the bitter chill that blows through most of its scenes.
    • 76 Metascore
    • 80 Robbie Collin
    The White Tiger
    It’s a punchy, propulsive watch, blown along by snappy editing and a hip-hop-driven soundtrack that stresses that there’s still much fun to be had when hefty themes of inequality and geopolitics are being tackled. And honestly? There really is.
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