Tasha Robinson

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For 645 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.7 points lower than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Rabbi's Cat
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 61 out of 645
645 movie reviews
    • 64 Metascore
    • 81 Tasha Robinson
    The sheer dynamism and energy of the movie are compelling, even when the character drama isn’t.
    • 53 Metascore
    • 42 Tasha Robinson
    It’s a pretty take on the story, but it’s also a frustratingly safe and squishy one. It’s infinitely well-intentioned, full of warm self-affirmation and positivity, and absolutely nothing about it feels emotionally authentic enough to drive those messages home.
    • 79 Metascore
    • 83 Tasha Robinson
    Annihilation is a portentous movie, and a cerebral one. It’s gorgeous and immersive, but distancing. It’s exciting more in its sheer ambition and its distinctiveness than in its actual action.
    • 89 Metascore
    • 86 Tasha Robinson
    Hereditary is a hell of an intense ride, made for a crowd that enjoys heart-clutching adrenaline spikes. The cast is unerringly terrific.
    • 37 Metascore
    • 29 Tasha Robinson
    Unlike the first two films in the series, Cloverfield Paradox doesn’t stand on its own as a horror movie, or even as a standalone story. There’s no central idea, no governing principle, and more to the point, virtually nothing frightening about it. No one involved in creating this movie seemed to have any clue what kind of tale it’s telling from one minute to the next.
    • 85 Metascore
    • 83 Tasha Robinson
    Audiences will likely come away from The Last Jedi with a lot of complaints and questions. But they’re at least likely to feel they’re in the hands of someone who cares about the series as much as they do, someone who loves its history, but sees the wide-open future ahead of it as well.
    • 45 Metascore
    • 71 Tasha Robinson
    Because the film goes in so many tonal and narrative directions, it feels like a grab bag anyone can reach into and fish around in for something to their personal tastes, from dramatic themes to offhand banter, from mindless pummel-fests to thoughtful conversations about heroic responsibility. Justice League isn’t an entirely coherent film, but it’s certainly an egalitarian one.
    • 21 Metascore
    • 41 Tasha Robinson
    Just as trying to keep up with every geopolitical crisis on the planet all at once can be overwhelming, trying to track Geostorm’s name-checked concerns and its barely present characters is likely to tax viewers’ attention spans. Horror movies help people process some of our worst fears, but there’s a reason most movies don’t try to address every human fear at the same time.
    • 27 Metascore
    • 33 Tasha Robinson
    Every retread of a familiar story has to bring something new to the table, if it’s going to justify its existence. Instead, this is yet another cinematic Frankenstein’s monster, stitched together out of scavenged parts, and shocked back to life for no clear or compelling reason.
    • 70 Metascore
    • 77 Tasha Robinson
    At its best, it’s a reminder that King’s biggest strengths lie in his unparalleled ability to build tension, create atmosphere, and tell a direct and brutal story, not in his ability to launch profitable many-branched franchises.
    • 77 Metascore
    • 81 Tasha Robinson
    It’s a heightened, sometimes stagey take on a trashy exploitation flick, but it is mesmerizing.
    • 63 Metascore
    • 67 Tasha Robinson
    It’s frustratingly good at first, and then just frustrating, because it veers away from the things that make it unique, intelligent, and exciting.
    • 87 Metascore
    • 87 Tasha Robinson
    For those capable of falling into the spell del Toro is casting, The Shape of Water is a breathless film, anchored by Hawkins’ visible, ardent longing for connection, and her fierce defiance when the things she loves are threatened.
    • 69 Metascore
    • 72 Tasha Robinson
    The convincing child cast carries the film when the scares start to feel redundant.
    • 34 Metascore
    • 45 Tasha Robinson
    The Dark Tower, helmed by Danish director Nikolaj Arcel, is so simplified in places that it seems outright generic.
    • 73 Metascore
    • 83 Tasha Robinson
    Spider-Man: Homecoming brings the character back to his basics. In the process, it shows why he’s always been such a popular draw, and it makes a strong argument for a branch of the MCU / Sony heroverse that operates on a smaller scale than the rest of the world.
    • 34 Metascore
    • 57 Tasha Robinson
    Given that The Mummy only barely works as a movie on its own account, the question becomes whether it works as a franchise-starter. And the answer is that while its franchise elements are foregrounded, they still aren’t terribly compelling.
    • 76 Metascore
    • 87 Tasha Robinson
    Wonder Woman represents a number of delicate balancing acts: between humor and gravitas; angst and adventure; full-blown, unvarnished superhero fantasy and the DCEU’s usual unpacking of what those fantasies mean.
    • 72 Metascore
    • 69 Tasha Robinson
    From a technical and filmmaking standpoint, nothing about Joshua: Teenager vs. Superpower stands out.... It’s as dry and straightforward as a reputable news report. But from a content standpoint, the film is riveting.
    • 41 Metascore
    • 37 Tasha Robinson
    King Arthur has a vulnerable heart beating somewhere under all the grimy, sweaty muscles lovingly displayed for the camera. It’s just buried too often under narrative chaos, and the inexplicable ideal that if a story runs at double speed and triple energy, the gaping holes in the story will outpace anyone’s notice.
    • 43 Metascore
    • 41 Tasha Robinson
    Virtually none of The Circle has any emotional or narrative impact.
    • 54 Metascore
    • 76 Tasha Robinson
    It’s a sleek and effective thriller, often scary and usually visually impressive. But too often, its reasons for doing absolutely anything amount to “because this is the way Alien did it.”
    • 56 Metascore
    • 67 Tasha Robinson
    There’s a lot of fantasy in the usual end-of-the-world scenarios, but there’s a lot of horror there as well. Bokeh asks which of those reactions is more appropriate, and how they both play out. It’s a gentle story, as apocalypses go, but even without monsters, it becomes a painful, emotional question of strength and survival.
    • 65 Metascore
    • 31 Tasha Robinson
    It’s largely a frustrating clone of the original movie — same songs, same script, often even the exact same shot choices — but it replaces every moment of authentic or moving emotion with bombast and hyperbolic overemphasis.
    • 84 Metascore
    • 92 Tasha Robinson
    Like so much of Key & Peele’s comedy, Get Out is refreshing in its naked, frank aggression about confronting racial issues, with comedy, drama, and sharp, unsparing insight.
    • 77 Metascore
    • 81 Tasha Robinson
    The weight of graphic, grotesque violence hangs over the entire movie. But the daring emotional violence lingers longer, well after the lights go down on the final shot.
    • 75 Metascore
    • 76 Tasha Robinson
    John Wick: Chapter 2 is an enjoyable enough expansion on the first film. But its final-act setup for John Wick: Chapter 3 is more trying than promising.
    • 70 Metascore
    • 73 Tasha Robinson
    Beyond the film’s strong look and feel, it’s memorable because the script is so bizarre and unexpected, so confident and daring about what it’s trying to do.
    • 68 Metascore
    • 87 Tasha Robinson
    Brigsby Bear holds together because it’s so flawlessly navigated and so utterly sincere. James has his ups and downs, but they aren’t manipulative, cheap, or calculated.
    • 25 Metascore
    • 29 Tasha Robinson
    Rings is a phenomenally distracted film, and it can’t focus on any one concept for too long.

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