Robbie Collin
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Articles by Robbie Collin
How a controversial new film is testing Scandinavian liberals' tolerance
On a November afternoon in 2015, a large black car pulled up outside a house on the edge of a rural community on the west coast of Norway. Out of the vehicle climbed a child protection officer, who knocked on the front door and told the young woman who answered, Ruth Bodnariu, that she had come to take away her children. In fact, two of them had already been taken.
How a controversial new film is testing Scandinavian liberals’ tolerance
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Nicholas Hoult’s latest won’t do his Bond chances any favours
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Nicholas Hoult’s latest won’t do his Bond chances any favours
The stuntman-turned-filmmaker David Leitch has an undeniable knack for fight scenes and car chases, and a generational gift for peopling them with the most exasperating bozos imaginable.
Johnny Depp’s spooky Scrooge might be the comeback he’s been waiting for
Johnny Depp is given the space to do everything he excels at in Ebenezer - Paramount Pictures/Jaap Buitendijk What could have possibly drawn Johnny Depp to the story of Ebenezer Scrooge, that widely reviled eccentric who efficiently redeems himself in the eyes of one and all via a long, dark night wrestling with his ghosts?
Godzilla unleashes carnage in this terrifying, awe-inspiring monster epic
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Godzilla unleashes carnage in this terrifying, awe-inspiring monster epic
Godzilla first lurched out of the brine in 1954, when Japanese cinema was in a golden age of stirring historical epics and melodramas of unparalleled delicacy and restraint. So there is a pleasing circularity to the way this 72-year-old series has finally worked its way round to producing a pair of delicate and stirring epic historical melodramas in which Godzilla just happens to be a major character.
John Malkovich: They've told me the words I can't say on the Oscars circuit
“I believe the original fabric was French vintage,” purrs John Malkovich , gesturing at his olive-green chore coat, which is covered in delicately cross-stitched woodland birds and looks as if it might have been cut from a 17th-century tapestry.
They’ve told me the words I can’t say on the Oscars circuit
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Clayface’s stomach-twisting gore will have you watching through your fingers
How should one go about making yet another instalment in a middlingly successful cinematic universe that doubles as an origin story for one of Batman’s more ludicrous mid-tier villains? The makers of Clayface have come up with what we can only hope will be a popular strategy going forward: by treating their film as if it is neither of those things.
The debut has terrible acting and toe-curling songs – it’s the film of the year
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The debut has terrible acting and toe-curling songs – it's the film of the year
There is great acting and not-so-great acting, and then there is whatever on earth Julianne Moore is doing in The Debut . In this piercing, feverish comic drama from Jesse Eisenberg , Moore stars as Mona, a mousy New Jersey housewife who is cast in a minor role in a local production of a fictitious musical set in a Manhattan apartment-block: imagine Rent , but 300 per cent straighter.
The debut has terrible acting and toe-curling songs – it’s the film of the year
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The Debut has terrible acting and toe-curling songs – it’s the film of the year
There is great acting and not-so-great acting, and then there is whatever on earth Julianne Moore is doing in The Debut. In this piercing, feverish comic drama from Jesse Eisenberg, Moore stars as Mona, a mousy New Jersey housewife who is cast in a minor role in a local production of a fictitious musical set in a Manhattan apartment-block: imagine Rent, but 300 per cent straighter.
This stupendous animation squeezes fun and emotion from every frame
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A chilling look at what happens when AI chooses who to kill
Robbie Collin The word “naza” is a piece of contemporary Israeli military jargon derived from the Hebrew term nezek agavi : collateral damage. This cool-eyed documentary from that country's investigative journalists Yuval Abraham and Rachel Szor pries apart those four seemingly inconspicuous letters and picks through everything they were designed to enclose.
Andrew Garfield gave me chills in the scariest film of the year
Luca Guadagnino's Artificial – a vigorous thriller about OpenAI, the Californian company whose signature product ChatGPT turbocharged the artificial intelligence boom – is the scariest thing you will see in the cinema this year. The plot of the film (which was initially developed by Amazon MGM Studios, then dropped after Amazon made a $50 billion investment in OpenAI earlier this year) is pure sci-fi horror.
Andrew Garfield gave me chills in the scariest film of the year
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Andrew Garfield gave me chills in the scariest film of the year
Luca Guadagnino’s Artificial – a vigorous thriller about OpenAI, the Californian company whose signature product ChatGPT turbocharged the artificial intelligence boom – is the scariest thing you will see in the cinema this year. Luca Guadagnino’s Artificial – a vigorous thriller about OpenAI, the Californian company whose signature product ChatGPT turbocharged the artificial intelligence boom – is the scariest thing you will see in the cinema this year.
I think I’ve just seen the most beautiful stop-motion film ever made
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Wildwood takes stop-motion to new heights – plus the best and worst of London Film Festival
Robbie Collin, Tim Robey The London Film Festival is celebrating it's 70th edition in style. Running until October 18 at venues across the capital, the annual celebration of cinema is presenting no fewer than 250 titles from 80 different countries. Among those films – many of which won't be glimpsed again in UK cinemas until later this year or next – some are sure to become major awards contenders, while others may be better forgotten.
I think I've just seen the most beautiful stop-motion film ever made
Robbie Collin “I don't know whether this is scary or adorable,” whispers Wildwood 's Prue (voiced by Peyton Elizabeth) as she ventures into a woodland mansion bustling with exotic animals dressed in uniforms and other outfits. This exquisite fantasy adventure – the latest marvel from Laika, the American stop-motion animation studio – asks: why can't it be both?
Wildwood takes stop-motion to new heights – plus the best and worst of London Film Festival
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The liberation is implausible for a true story – plus the best and worst of London Film Festival
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Ray Gunn is worth the 30 years it took to make
Robbie Collin, Tim Robey Ray Gunn ★★★★☆ “I like you – you're a throwback,” an interviewee tells Raymond Gunn with a grin, the square-jawed, whisky-swilling private eye at the heart of this stylish, careering new animation from The Incredibles and The Iron Giant creator Brad Bird. In fact, the same applies to Bird's film three times over.
Ray Gunn is worth the 30 years it took to make
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Watching Andrew Garfield's Peasants' Revolt film feels like being kicked through a bog
Is the new Paul Greengrass film a Robin Hood origin story? Yes and no. For most of its two-hour running time, this dour and gravelly historical romp traces the course of the 1381 Peasants' Revolt from the perspective of a widowed Essex ploughman (Andrew Garfield) who becomes a figurehead in the rebellion that rages across England's rural south-east.
This wondrous film about the 1953 ascent of Everest is one to watch on the big screen
Thank goodness Apple seems to have lifted its informal moratorium on cinemas playing its films, because watching Tenzing on an iPhone would surely count as a crime against cinema. With the Tibetan actor Genden Phuntsok as Tenzing Norgay and Tom Hiddleston as Sir Edmund Hillary , this handsome historical drama about the 1953 ascent of Everest is made in polite, conservative period-piece style.
Pokazał mroczne kulisy działania Facebooka. "Trafił w złym momencie"
Z natury toksyczna natura Facebooka nie mogłaby być bardziej aktualna. Zaledwie miesiąc temu Meta, spółka matka Facebooka, zawarła ugodę na kwotę 18 mld dol., kończąc tym samym proces sądowy, w którym zarzucano, że jej produkty (w tym Instagram i WhatsApp) negatywnie wpływają na zdrowie psychiczne nastolatków. Jednak Aaron Sorkin, scenarzysta i reżyser, który zdobył Oscara za scenariusz do oryginalnego filmu Davida Finchera, frustrująco wyprzedził wydarzenia.
"Przyprawia o mdłości". Robert Pattinson w mrocznej satyrze na media [RECENZJA]
"Kiedyś w każdym cywilizowanym mieście był pręgierz" — prycha Chris Hansen (w tej roli Robert Pattinson), amerykański dziennikarz z programu "Primetime", przygotowując się do pracy. "Dziś w każdym domu jest telewizor, a ja w nim jestem" — dodaje. Szczerze mówiąc, wolałbyś chyba zaryzykować kontakt z zepsutym i spleśniałem warzywem niż z Chrisem Hansenem.
Olivia Colman re-enacts the Kama Sutra with a sentient basket
Olivia Colman’s career is unusually broad for an Academy Award-winning actress: pop over to iPlayer and the same woman who won an Oscar for playing Queen Anne can be found in Mitchell and Webb sketches with titles such as The Boy with an A--- for a Face.
Watching Andrew Garfield’s Peasants’ Revolt film feels like being kicked through a bog
The Uprising tells the story of the Peasants’ Revolt of 1381 through the eyes of a widowed Essex ploughman (Andrew Garfield) - Betina La Plante/Focus Features Is the new Paul Greengrass film a Robin Hood origin story? Yes and no.
Aaron Sorkin's Social Network sequel is no match for Facebook's real-life horrors
Robbie Collin This sleek, sanitary sequel to 2010's The Social Network – a dramatisation of the 2021 leak that showed Facebook had prioritised profits over reducing the various personal and civic harms it knew it was wreaking – is an exasperating case of right time, wrong film. Facebook's inherently poisonous nature could hardly be more topical.
Aaron Sorkin’s Social Network sequel is no match for Facebook’s real-life horrors
This sleek, sanitary sequel to 2010’s The Social Network – a dramatisation of the 2021 leak that showed Facebook had prioritised profits over reducing the various personal and civic harms it knew it was wreaking – is an exasperating case of right time, wrong film. Facebook’s inherently poisonous nature could hardly be more topical.
'I was intimidated by Tom Cruise'
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Digger director: ‘I was intimidated by Tom Cruise’
‘He told me the best gifts you can give to someone are your attention and presence’: Alejandro González Iñárritu (left) on his new film’s lead, Tom Cruise - Reuters/Hannah McKay Alejandro González Iñárritu – the multi-Oscar-winning director of Birdmanand The Revenant, and seasoned expert on men driven half-mad by destinies they never chose – has been thinking about the Prince of Wales.
Nowy erotyczny thriller z Dakotą Johnson wprawił mnie w zakłopotanie [RECENZJA]
Biorąc pod uwagę, jak wiele filmów w ostatnim czasie albo miało w obsadzie Anne Hathaway, albo było adaptacjami powieści Colleen Hoover, wydaje się cudem, że dotarliśmy do października, zanim pojawił się taki, który łączył obie te cechy. Czy ten leniwy, półerotyczny thriller o krwawym trójkącie miłosnym między światowej sławy autorką (Hathaway), jej mężem-utrzymankiem Jeremym (Josh Hartnett) oraz ambitną ghostwriterką (Dakota Johnson) był wart czekania?
Anne Hathaway's seedy, slinky Verity suffers from the most frustrating twist
Considering how many recent films have either starred Anne Hathaway or been adapted from Colleen Hoover's novels , it feels like a miracle that we almost made it to October before one came along that did both. Has this languorous semi-erotic thriller about a bloody love triangle between a world-famous author (Hathaway), her kept husband, Jeremy (Josh Hartnett), and an ambitious ghostwriter ( Dakota Johnson ) been worth the wait?
Anne Hathaway's seedy, slinky Verity suffers from the most frustrating twist
Considering how many recent films have either starred Anne Hathaway or been adapted from Colleen Hoover's novels , it feels like a miracle that we almost made it to October before one came along that did both. Has this languorous semi-erotic thriller about a bloody love triangle between a world-famous author (Hathaway), her kept husband, Jeremy (Josh Hartnett), and an ambitious ghostwriter ( Dakota Johnson ) been worth the wait?
Anne Hathaway’s seedy, slinky Verity suffers from the most frustrating twist
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Nowy projekt Toma Cruise'a to najbardziej szalony film roku [RECENZJA]
Uwaga: ta recenzja może zawierać spoilery. Ryzykowną sztukę często nazywa się balansowaniem na linie, ale najnowszy film Toma Cruise'a naprawdę na to określenie zasługuje. Aż do samego końca, szczerze mówiąc, nie byłem w stanie przewidzieć, czy wszystko się tu uda, czy może okaże się spektakularną porażką. Czytaj nas częściej w Google Polecamy: Przemoc, rozbity dom i scjentologia.
Tom Cruise's Digger is the most bonkers film of the year
Robbie Collin Warning: this review contains spoilers Risky art is often called a high-wire act, but Tom Cruise 's latest film really earns the label. Until it took its very last step, I honestly couldn't have told you whether it was going to come off or splat headfirst into the sawdust. Digger , the eighth feature from Alejandro González Iñárritu – the Oscar-winning Mexican director of Birdman and The Revenant – is a serpentine, swaggering satire.
Tom Cruise's Digger is the most bonkers film of the year
Warning: this review contains spoilers Risky art is often called a high-wire act, but Tom Cruise 's latest film really earns the label. Until it took its very last step, I honestly couldn't have told you whether it was going to come off or splat headfirst into the sawdust. Digger , the eighth feature from Alejandro González Iñárritu – the Oscar-winning Mexican director of Birdman and The Revenant – is a serpentine, swaggering satire. Essentially, it's a Dr Strangelove for the climate crisis.
Tom Cruise's Digger is the most bonkers film of the year
Warning: this review contains spoilers Risky art is often called a high-wire act, but Tom Cruise 's latest film really earns the label. Until it took its very last step, I honestly couldn't have told you whether it was going to come off or splat headfirst into the sawdust. Digger , the eighth feature from Alejandro González Iñárritu – the Oscar-winning Mexican director of Birdman and The Revenant – is a serpentine, swaggering satire. Essentially, it's a Dr Strangelove for the climate crisis.
Tom Cruise’s Digger is the most bonkers film of the year
Risky art is often called a high-wire act, but Tom Cruise's latest film really earns the label. Until it took its very last step, I honestly couldn't have told you whether it was going to come off or splat headfirst into the sawdust. Digger, the eighth feature from Alejandro González Iñárritu – the Oscar-winning Mexican director of Birdman and The Revenant – is a serpentine, swaggering satire. Essentially, it's a Dr Strangelove for the climate crisis.
Tom Cruise’s Digger is the most bonkers film of the year
Risky art is often called a high-wire act, but Tom Cruise’s latest film really earns the label. Until it took its very last step, I honestly couldn’t have told you whether it was going to come off or splat headfirst into the sawdust. Digger, the eighth feature from Alejandro González Iñárritu – the Oscar-winning Mexican director of Birdman and The Revenant – is a serpentine, swaggering satire. Essentially, it’s a Dr Strangelove for the climate crisis.
Richard Gere, a gerbil and the Hollywood myth that won't die
Robbie Collin What is the first story that springs to mind when you hear the word gerbil? If it entails the additional three words “Gere”, “bottom” and “hospital”, then you – and I – are far from alone.
Brad Pitt only has eyes for his dog in Heart of the Beast
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Brad Pitt only has eyes for his dog in Heart of the Beast
Heart of the Beast gives us an hour and a half of one man and his dog – refreshingly simple - Paramount Pictures/Scott Garfield Now that the paperwork around the end of his marriage to Angelina Jolie has been tied up at last, Brad Pitt is starring in one of the most divorced films ever made. Director David Ayer’s best feature since 2014’s Fury (which also starred Pitt), this survival thriller is a grizzled hymn to middle-aged, solo male resilience.
This wildly entertaining Sense and Sensibility is Austen with the bonnets blown off
Perhaps every generation – if it's lucky, at least – gets the Jane Austen adaptation it needs. Three decades on from Ang Lee and Emma Thompson's sunny and ravishing Cool Britannia-era take on Sense and Sensibility comes this wild and plangently beautiful successor, astutely adapted and exquisitely directed by Blue Jean 's Georgia Oakley. For our squally times, its windblown, rain-tangled soul is a perfect fit.
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