K. Austin Collins

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For 25 reviews, this critic has graded:
  • 52% higher than the average critic
  • 0% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 10.1 points higher than other critics. (0-100 point scale)

K. Austin Collins' Scores

  • Movies
  • TV
Average review score: 74
Highest review score: 100 If Beale Street Could Talk
Lowest review score: 40 The Equalizer 2
Score distribution:
  1. Positive: 21 out of 25
  2. Negative: 0 out of 25
25 movie reviews
    • 83 Metascore
    • 90 K. Austin Collins
    Jenkins can find the humor and bleached-out irony in something as sterile as a hospital’s oppressively white walls—it’s a true talent. Let’s not wait another decade to get more of it.
    • 69 Metascore
    • 65 K. Austin Collins
    Fahrenheit 11/9 does what Moore has done best, or at least most, throughout his career. It’s a sprawling, big-mouthed, big-hearted mess of a polemic, equal parts righteously impassioned and unforgivably dubious. It’s a rip-roaring airing of grievances from a man who has only ever used his substantial platform to get shit off of his chest.
    • 81 Metascore
    • 75 K. Austin Collins
    The movie seems to be a study of the artificial limits we put on our desires—and the ways those desires naturally betray us. This being Denis, she of course goes above and beyond merely exposing those limits; she must also, of course, expose the audience’s limits in the process.
    • 78 Metascore
    • 75 K. Austin Collins
    The film is rich with male feelings and even manages to have a sense of humor about its own sadness. Phoenix is fine here—his usual loose cannon—as is Gyllenhaal, whose educated snob routine doesn’t overplay its hand an inch. Though I’m tempted to launch a federal investigation into his mutt of an accent. But it’s Reilly who really carries the movie.
    • 87 Metascore
    • 85 K. Austin Collins
    It’s interested in the continuum between then and now—and in the ways our own knowledge of community, and of ourselves in the world, can determine how we embody the lives of others. It’s the consummate act of empathy: restoring the past by bringing it to bear, in a real way, on our own lives.
    • 87 Metascore
    • 100 K. Austin Collins
    What Jenkins gets most right—what astonishes me the most about this film—is Baldwin’s vast affection for the broad varieties of black life. It’s one of the signature lessons of Baldwin’s work that blackness contains multitudes.
    • 85 Metascore
    • 85 K. Austin Collins
    Support the Girls is not a comedy merely because it’s funny (which it is), or because its tumultuous rhythm throws these women’s lives out of whack. It’s a comedy because, without laughter, there’d be no getting by.
    • 93 Metascore
    • 90 K. Austin Collins
    In a world full of images—full of people recording themselves and their friends doing dumb shit, or documenting attractive versions of themselves—Bing’s movie stands out for the complexity of its integrity, and its ability to reveal his own experiences empathically.
    • 52 Metascore
    • 70 K. Austin Collins
    McKinnon is all excess, all the time, and The Spy Who Dumped Me—a solid comedy, overall—gives us another chance to bask in that.
    • 53 Metascore
    • 70 K. Austin Collins
    The pleasure and terror of Dark Web is, as it turns out, its unpredictability.
    • 50 Metascore
    • 40 K. Austin Collins
    Washington...absolutely has a keen sense of his character. It’s there in every skeptical cock of his head, every sly, knowing grimace. But The Equalizer 2 is too much of a dull slog for any of that to pop with Washington’s usual ace charisma. The movie is a bog; Washington’s merely wading through it.
    • 81 Metascore
    • 75 K. Austin Collins
    Sorry to Bother You is a surreal ride.
    • 54 Metascore
    • 65 K. Austin Collins
    The First Purge is very clearly nonsense, and it’s not ashamed of that—nor should it be. Every so often, that nonsense stumbles into a surprising idea, a striking image, or something else worth clinging to when you leave the theater.
    • 61 Metascore
    • 45 K. Austin Collins
    The results are, understandably, thrilling at times, because violence is thrilling—vengeance even more so. But what it adds up to is a chaotic, misbegotten mess.
    • 52 Metascore
    • 70 K. Austin Collins
    It’s not a remake so much as a juicy, larger-than-life update—a movie whose aim is to bring the Super Fly myth up to speed.
    • 68 Metascore
    • 45 K. Austin Collins
    Layton’s portentous style does the story no favors. It’s all mood, mood, mood: sharp angles, dark interiors, long pauses, and quietly thrumming background music.
    • 85 Metascore
    • 95 K. Austin Collins
    Schrader’s film is a wise, shocking, intellectually prodigious masterpiece. It’s a classic Schrader slow burn that seems to reach, in its final moments, for the impossible.
    • 62 Metascore
    • 75 K. Austin Collins
    Clarke, too, shines as a woman who’s made sacrifices Han cannot imagine. To the extent that the movie is a western at heart, its smartest, subtlest influence is the Joan Crawford classic Johnny Guitar, about a woman who makes her way in the Wild West against all odds, and in the face of all morality.
    • 66 Metascore
    • 40 K. Austin Collins
    There’s no other way to put this: Deadpool 2 is a regular, shmegular superhero movie, distinguished only by an obnoxiously unearned dose of “see what I did there?!” It’s a drag.
    • 81 Metascore
    • 80 K. Austin Collins
    Fargeat gets her thrills from all the bad things that make her genre great: Cinematography that’s rancid with heat and color, sound design that delights in every exaggerated crunch and squish.
    • 42 Metascore
    • 70 K. Austin Collins
    Union, a conquering badass, owns it. The movie walks an intriguing line between strained believability and outright superherodom—a line every action movie walks, of course. But then, most action movies don’t star black women.
    • 72 Metascore
    • 65 K. Austin Collins
    RBG
    The documentary sees Ginsburg as an icon and hero first—and within that (I hesitate to say “second”) it sees her as the prodigious, idiosyncratic legal mind that she is. Somewhere in the process, rich contradictions and complexities get the slightest bit overlooked.
    • 60 Metascore
    • 85 K. Austin Collins
    Huppert, whose sharpness lends itself beautifully to ironic humor, is more than game. Mrs. Hyde is, among other things, a comedy of enlightenment—literal enlightenment, if the gold sparks coursing through Géquil’s body are any indication. Perhaps its greatest lesson isn’t within the movie, but rather the fact of it: rather than revise a stale genre, burn it anew.
    • 92 Metascore
    • 90 K. Austin Collins
    Despite its pure beauty, in other words, there’s no mistaking The Rider for a simple, crowd-pleasing pick-me-up. The movie is soulful, elegant, filmed as often as not at the magic hour, when the sky is as broad as it is orange-yellow, and every nook of the world seems alight with possibility. It is hardly, on its surface, an outright downer. But it’s unmistakably a movie about loss.
    • 89 Metascore
    • 95 K. Austin Collins
    Martel’s sensibility is as oblique as it is sensitive, confounding as it is grimly humorous. It’s a movie that seems constantly to be spilling the secrets of this world, but without fanfare—there’s an unsettling banality to it all.

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