For 680 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 2.5 points lower than other critics. (0-100 point scale)

Tim Robey's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Vertigo
Lowest review score: 0 Cats
Score distribution:
  1. Negative: 40 out of 680
680 movie reviews
    • 65 Metascore
    • 20 Tim Robey
    It’s the film that’s hell – and a very dull, desperate hell at that, as if these dungeon masters have realised we aren’t sufficiently scared by the main event, and try throwing the kitchen sink at us, almost literally.
    • 69 Metascore
    • 80 Tim Robey
    It would be hard to overpraise Burghardt, a debuting actress on the spectrum whose scenes are so tender, relaxed and generally sweet she deserves at least half the credit.
    • 63 Metascore
    • 40 Tim Robey
    This is at the very least a beautifully designed failure, marrying crepuscular photography with faultless art direction, and blessed by a gorgeous, otherworldly score by Augustin Viard, a specialist in the ondes Martenot. It looks and sounds so darkly inviting – but sends you home unsated.
    • 71 Metascore
    • 80 Tim Robey
    With its watch-through-your-fingers cringe factor, this is an excellent black comedy of amiss-ness all round. It’s about millennials, their fibs, and their failures.
    • 68 Metascore
    • 60 Tim Robey
    What keeps it on its feet is the snappy direction of Jeremiah Zagar, a Philly native who shows off his home town with unmistakable pride, and has a lot of vivid strategies for what the camera’s doing (there are more time-hopping match cuts than I could count) or which song to put on top.
    • 48 Metascore
    • 40 Tim Robey
    The moment-to-moment incoherence of Dashcam makes it maddeningly hard to figure out what’s happening – the “WTF?”s that appear in the chat-box might just as well be our own. There’s a certain delirious energy to it.
    • 81 Metascore
    • 80 Tim Robey
    Achieving the gossamer profundity of one of Alice Munro’s short stories, her film is about the uninterrogated privileges success brings and the envy they can easily spawn.
    • 73 Metascore
    • 40 Tim Robey
    All his usual strengths fail him in a different culture here, perhaps because the veneer of venal cynicism that ought to be the film’s top layer is so easy to scratch through. Digging for the pathos hardly takes us long, especially with one of the director’s most cloying scores handing over a shovel.
    • 74 Metascore
    • 80 Tim Robey
    The film’s craft, with its shivery wooded landscapes and deep focus, is consistently strong, and the acting – especially from State, but also many of the bickering village ensemble – spices up what might have been a route-one polemic.
    • 75 Metascore
    • 100 Tim Robey
    It’s profoundly compelling, expertly made, and quite intentionally horrifying.
    • 88 Metascore
    • 80 Tim Robey
    The shot-making is sensational, and the film knows it; the camera does things you’ve never seen before, say with focus in an interrogation room mirror, and the whole saga’s edited as though Park can’t wait to show you what’s up his sleeve.
    • 85 Metascore
    • 100 Tim Robey
    Moonage Daydream, a wildly creative tribute to everything Bowie achieved over four and a half decades, sets a sky-high bar as cinematic fan-service, and it leaves you buzzing.
    • 90 Metascore
    • 80 Tim Robey
    The film has a beguiling looseness – it captures that familiar holiday feeling of good days and bad days, or moods turning for no particular reason, other than maybe spending a bit too long in each other’s company.
    • 84 Metascore
    • 80 Tim Robey
    Seydoux has unfakeable chemistry here with a perfect-as-usual Poupaud, the leading man in French cinema who seems most incapable of putting a foot wrong.
    • 74 Metascore
    • 80 Tim Robey
    Gray has taken a dicey risk here, by thinking through white guilt from such an unapologetically personal place. In this retrospective mea culpa, he’s trying to be honest about his own conscience and childhood regrets, but also examining the multiple failures of education that set these two kids on such divergent paths.
    • tbd Metascore
    • 100 Tim Robey
    It’s as much a film about legal process as social injustice, and the nitty-gritty is eye-opening.
    • 40 Metascore
    • 40 Tim Robey
    The movie isn’t awful, just sapping and strained.
    • 81 Metascore
    • 60 Tim Robey
    I’ve rarely felt more impaled on the fence by a film, because, exactly as promised, it’s everything at once – good and not good; fresh yet still a formula; cramped, strenuous, full to the brim.
    • 78 Metascore
    • 60 Tim Robey
    The film’s narrative obliqueness heightens its gallery-piece surrealism. What payoffs we get are affecting, though.
    • 68 Metascore
    • 20 Tim Robey
    With the filmmakers almost palpably high-fiving between these takes, it’s no surprise they wind up with a star performance that has to count as one of this star’s most strenuous. Treated as this zoo exhibit, he isn’t unleashed to express himself creatively. He’s caged.
    • 82 Metascore
    • 80 Tim Robey
    Daniel Roher’s shrewd portrait makes the point that Navalny is half-politician, half-journalist; blending the two with his affable charisma on camera, which even extends to goofing off on TikTok, he has exactly the man-of-the-people touch that would be most likely to qualify him as a political threat.
    • 65 Metascore
    • 60 Tim Robey
    A cram-it-all-in adaptation of Ben Macintyre’s 2010 history book of the same name, which knuckles down to its task with sleeves rolled, upper lips stiffened, and vast sheaves of exposition to whip through.
    • 82 Metascore
    • 80 Tim Robey
    Though this be madness, yet there is method in’t – Alexander Skarsgård's Prince Amleth rampages through a mythological epic of savage beauty.
    • 62 Metascore
    • 40 Tim Robey
    With the best will in the world, Metz drags us through a labyrinth of intrigue but messes up the crumb trail. We’re left disorientated, and underwhelmed.
    • 61 Metascore
    • 80 Tim Robey
    This is hardly the sound of artistic burnout. No mean videographer either, Hoon departed with a great deal left to say.
    • 80 Metascore
    • 80 Tim Robey
    It’s the rapport between the actors – or the anti-rapport, to start with – that makes this such a winning diversion.
    • 63 Metascore
    • 80 Tim Robey
    By managing to keep faith with this fast-unravelling person, even in her most bozo moments of losing the plot, Wilson turns in her best and bravest work in films to date.
    • 79 Metascore
    • 60 Tim Robey
    It’s warm, cosy and very Linklater: it definitely exudes more chill than urgency.
    • 53 Metascore
    • 60 Tim Robey
    Something went wrong here – it feels like the final cut of the film is either the victim of duff scripting choices, or made equally duff attempts to fix them. It’s a pity, because it wastes Affleck’s solid efforts, and thwarts the picture Lyne got halfway on screen: a portrait of an affluent marriage as a toxic sham, with all the solidity of a Love Island merger.
    • 55 Metascore
    • 20 Tim Robey
    There’s almost nothing the film does well, but that doesn’t stop it donning a winner’s smirk while it copies every 1980s science fiction smash you’ve ever seen.

Top Trailers