Tasha Robinson

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For 626 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 Ponyo
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 59 out of 626
626 movie reviews
    • 87 Metascore
    • 60 Tasha Robinson
    Seen today, The King And The Mockingbird doesn’t have the tight pacing or propulsive narrative of modern animated stories, or the consistency of a film made to a specific house style. It’s recognizably the work of an idiosyncratic artist dealing in bizarre caricature, and exploring weird ideas... But its visual design and movement are striking, and its story beats are intriguingly unpredictable.
    • 80 Metascore
    • 50 Tasha Robinson
    This might be pleasant to watch, in a floaty '70s-movie kind of way, if not for the film's groaning 168-minute length and abrupt thudder of an ending.
    • 35 Metascore
    • 42 Tasha Robinson
    At least in the last half-hour, Bay's incredibly sloppy continuity and overeager rush to action pays off.
    • 77 Metascore
    • 42 Tasha Robinson
    The joys of watching a man carry out his own therapy onscreen are fairly limited.
    • 77 Metascore
    • 58 Tasha Robinson
    Water is gorgeously composed and beautifully shot, with a dogged emphasis on water imagery and symbolism, and a luscious sense for color. It's often profoundly beautiful. But its distanced, calculated attempts to draw sympathy, from its wide-eyed child protagonist to its sad-eyed, personality-free lovers to its fairy-tale ending, all blunt the meaning behind that beauty.
    • 76 Metascore
    • 58 Tasha Robinson
    Wasikowska doesn't seem much changed from her "Alice" role, and she trips through Jane's adulthood as though it were a fantasia instead of a moody suspense story.
    • 43 Metascore
    • 50 Tasha Robinson
    Actually, by way of a sequel, the filmmakers could just set Cerveris, Dafoe, and Reilly up for a purr-off. That’d be more fun than most of this film.
    • 75 Metascore
    • 50 Tasha Robinson
    Haley and co-writer Marc Basch have their hearts in the right place.... But while they’re steering clear of so many pitfalls, they don’t give the impression that they’re steering in any specific direction. The film is a parade of barely connected events, presided over by a barely connected protagonist.
    • 75 Metascore
    • 60 Tasha Robinson
    Like Ghibli’s features, Kingdom is a friendly, elegiac, approachable movie. But it lacks the studio’s well-polished sense of energy and commitment.
    • 75 Metascore
    • 50 Tasha Robinson
    It comes to American theaters saddled with narration by Pierce Brosnan, who purrs through the gratingly vague script like the world’s plummiest old half-drunken uncle.
    • 74 Metascore
    • 50 Tasha Robinson
    While Frankenweenie is pleasant enough as a curated tour through horror's past, it doesn't add much to its present.
    • 74 Metascore
    • 58 Tasha Robinson
    At times, Higher Ground feels like a lower-stakes "Welcome To The Dollhouse" for adults: It's a systematically built portrait of disappointment and despair, centering on a perpetual underdog looking for affection and surety in any possible form. But while Higher Ground is less painful than Dollhouse, it's also less passionate.
    • 74 Metascore
    • 50 Tasha Robinson
    Well-crafted but frustratingly superficial documentary.
    • 73 Metascore
    • 50 Tasha Robinson
    No amount of shoehorned-in razzle-dazzle can keep this forced fable from feeling like a shadow of Kon's early work.
    • 71 Metascore
    • 60 Tasha Robinson
    Reichert and Zaman don’t editorialize, which keeps Remote Area Medical from being preachy, forceful, or didactic, but also leaves it feeling shapeless.
    • 70 Metascore
    • 50 Tasha Robinson
    Ultimately, The Syrian Bride becomes an overtly political movie, but with all its loose threads and random directions, it feels more like the pilot for an unmade miniseries.
    • 70 Metascore
    • 58 Tasha Robinson
    Meet The Patels does offer a light, hearty overview of a subculture and a family, with plenty of disarming humor. And it perfectly captures the paradoxes of family relationships—the way affection, respect, resentment, and exasperation can all blur into each other inside a close-knit family.
    • 70 Metascore
    • 58 Tasha Robinson
    For a film that pads out such broad slapstick with toilet humor, obnoxious-child antics, and even cute-animal business, Only Human is surprisingly enjoyable, thanks to the filmmakers' relatively low-key, Pedro Almodóvar-style approach.
    • 69 Metascore
    • 60 Tasha Robinson
    Greenstreet's film at least serves as a reminder of how useless public debate becomes when everyone's screaming and no one's listening.
    • 69 Metascore
    • 50 Tasha Robinson
    The Wild Thornberrys Movie's heart is clearly in the right place -- but the Thornberry family's grotesquely huge heads, jutting teeth, stick limbs, and mismatched bodies look even more improbable and unpleasant on the big screen than they do on their TV show.
    • 68 Metascore
    • 60 Tasha Robinson
    Not everything Perry's voices say seems relevant to his central thesis, but they speak fervently and colorfully, and their intensity is compelling even when their message is lacking.
    • 68 Metascore
    • 50 Tasha Robinson
    The film's daring, honest ending helps redeem the uneven drama, but the road there may occasionally try the patience of even the most sympathetic armchair revolutionaries.
    • 68 Metascore
    • 50 Tasha Robinson
    There's nothing extraordinary about mariachi singer Carmelo Muñiz Sánchez, and nothing extraordinary about Mark Becker's documentary profile Romántico.
    • 67 Metascore
    • 42 Tasha Robinson
    The sequel remains visually beautiful and strikingly designed, but otherwise, it's a surprise in all the wrong ways.
    • 67 Metascore
    • 50 Tasha Robinson
    It all feels formal and unreal, the product of high ritual. But it also feels like one of the few rituals they're playing out entirely for themselves rather than for the sake of Rønde's neatly packaged modern fairy tale.
    • 66 Metascore
    • 50 Tasha Robinson
    More disappointingly, the entire cast seems less committed than they were the first time out.
    • 66 Metascore
    • 40 Tasha Robinson
    At times, Innocence feels like a clip show of Oshii projects past. But the effect proves more dulling than warmly familiar.
    • 66 Metascore
    • 60 Tasha Robinson
    It's all too easy to dismiss the characters' troubles as entirely of their own making. But the cast's fearless, evocative performances help a great deal.
    • 66 Metascore
    • 60 Tasha Robinson
    Unlike so many "Seven" followers, it makes its missteps memorably, and offers a variety of stylistic rewards by way of compensation.
    • 66 Metascore
    • 42 Tasha Robinson
    There are a few scary seconds here and there, but for the most part, this is a version of Dahl with the claws clipped, and it feels not just safe, but downright sleepy.
    • 66 Metascore
    • 60 Tasha Robinson
    It’s hard to fight the feeling that The Hobbit simply isn’t an epic story, and the efforts to expand it into one leave it feeling like an anvil crammed into a sock: The sock is taking on some weird shapes, and it’s being stretched awfully thin.
    • 66 Metascore
    • 60 Tasha Robinson
    It's all innocuous, forgettable fun, but it's firmly aimed at those who find underwear endlessly funny.
    • 66 Metascore
    • 50 Tasha Robinson
    Theoretically, the "Bring It On" model can be applied to any remotely performative art. All it takes is a certain level of sass, some eye-catching performance showcases, and a plot where a talented outsider livens up a moribund group with some fresh ideas. Pitch Perfect slaps that stencil onto college a cappella singing groups, with a smattering of success.
    • 65 Metascore
    • 50 Tasha Robinson
    Sijie mostly adapts his own work dryly and literally—the footage of the Chinese mountainside is breathtaking, but it's the only thing in the film with much depth.
    • 65 Metascore
    • 58 Tasha Robinson
    As a sheer visual experience, Puss In Boots makes a great theme-park ride, a thrill-a-minute feast for the eyes and the semicircular canals.
    • 65 Metascore
    • 46 Tasha Robinson
    The film doesn't lack nerve-racking sequences or well-tuned jump scares. But it stitches them all together with a profound lack of character consistency.
    • 65 Metascore
    • 58 Tasha Robinson
    Francine is so minimalist that it has to rely almost entirely on Leo for solidity, and it would be a far stronger film if it supported and framed her more effectively.
    • 65 Metascore
    • 58 Tasha Robinson
    Unknown White Male has flashes of brilliance: Murray stretches out the dramatic tale of Bruce's first terrifying hours of recall, and Bruce's raw misery as he recounts those events is deeply affecting.
    • 65 Metascore
    • 50 Tasha Robinson
    It's too focused on capturing a bygone moment and portraying it as the present, while the band and the couple have inevitably moved on, to a new album, a high-profile suicide at one of their concerts, a band hiatus, and well beyond.
    • 65 Metascore
    • 50 Tasha Robinson
    Kingsley is one of very few lively things about Polanski's plodding, by-the-numbers Oliver Twist. And in this dreary setting, he comes across more as a desperate clown than a saving grace, which makes it all the more awkward that no one else is clowning along with him.
    • 65 Metascore
    • 50 Tasha Robinson
    Most of the content of this film is wheel-spinning or conscious setup for the final installment, and that feels apparent at every melodramatic moment.
    • 64 Metascore
    • 60 Tasha Robinson
    A gorgeous film, framed with an eye that makes every country seem beautiful in one way or another. It's probably fitting that the human element seems fragile and flat by comparison, but the contrast leaves Beautiful Country fairly bland.
    • 64 Metascore
    • 42 Tasha Robinson
    Most of the film isn't as willing to reach out to viewers, and most won't be willing to do all the work in order to connect with it.
    • 64 Metascore
    • 58 Tasha Robinson
    The filmmaking is prosaic, the pacing sleepy. It's a solid but unremarkable experience, perfect for insomniacs watching the History Channel late at night, but not nearly as satisfying as simply re-reading Lee's book.
    • 64 Metascore
    • 51 Tasha Robinson
    Café Society is an incredibly pretty movie, and a generally unobjectionable one. But like so many Allen films, it feels like it was made primarily for his therapist, and letting the rest of the world in to see it and make their own diagnoses is an afterthought.
    • 63 Metascore
    • 50 Tasha Robinson
    Ultimately heads into a standard mismatched-buddy drama that would nestle nicely into a Hallmark movie of the week.
    • 63 Metascore
    • 60 Tasha Robinson
    It's daring and it's different.
    • 63 Metascore
    • 60 Tasha Robinson
    Three Of Hearts seems like an unwieldy mating of two films: one a glossy documentary about the fictionalized perfection that three lovers and a director wanted to believe in, and another about the all-too-human truth.
    • 63 Metascore
    • 50 Tasha Robinson
    Rio
    Rio could use fresher ingredients and more spice.
    • 63 Metascore
    • 60 Tasha Robinson
    Marquis herself rarely comes off as less than fascinating, in spite of her cheaply titillating material.
    • 62 Metascore
    • 60 Tasha Robinson
    It’s amiable goofiness, delivered at an emphatic, feverish pitch. Inevitably, what works fine in 11-minute episodes becomes strained over 90 minutes on the big screen, especially during a grating musical number about teamwork.
    • 62 Metascore
    • 60 Tasha Robinson
    Despicable Me 2 has its charms, in its spritely pacing, a rapid-fire gag-delivery system that hits as often as it misses, and especially in its innovative, expansive use of 3-D space.
    • 61 Metascore
    • 42 Tasha Robinson
    Delpy's work lacks Allen's wry humor and eye-rolling, philosophical acceptance of those characters and their quirks. Her stable of sniping couples and relatives are openly hateful in ways that defy comedy.
    • 61 Metascore
    • 42 Tasha Robinson
    By experiencing Block's films, we aren't merely witnessing his neurosis, we're abetting and validating it.
    • 61 Metascore
    • 58 Tasha Robinson
    Brick Lane comes far too late to be groundbreaking, and tries to do too much to be fully coherent, but its talent for avoiding obvious choices on all fronts, narratively and stylistically, make it worth a look.
    • 61 Metascore
    • 50 Tasha Robinson
    Real love is often as complicated and painful as Middle Eastern politics, and Fox might have been better off acknowledging that, rather than making his characters such vague, sweet, safe ciphers.
    • 39 Metascore
    • 50 Tasha Robinson
    Largely, it’s a jellybean of a movie: bright, colorful, sugary, and with no real content.
    • 61 Metascore
    • 50 Tasha Robinson
    The result feels cluttered, overcooked, and underfelt.
    • 61 Metascore
    • 60 Tasha Robinson
    It's important to go in knowing the central secret of the movie: Nothing exciting is going to happen. Ever. Armed with that knowledge, viewers should be able to settle down and enjoy the extremely low-key, melancholy character study that plays out between a handful of excellent actors.
    • 61 Metascore
    • 40 Tasha Robinson
    The ambition is laudable, but the execution is wanting, and the attempt itself may indicate that Watanabe and company have forgotten what made Cowboy Bebop so much fun.
    • 61 Metascore
    • 50 Tasha Robinson
    The stories Pérez-Rey's subjects tell are shocking, even moving. But they're also narrow, limited, and staid, and so is the film that contains them.
    • 61 Metascore
    • 42 Tasha Robinson
    Turns the franchise into a terrible '80s comedy.
    • 61 Metascore
    • 60 Tasha Robinson
    Sometimes too pat and sometimes ragged with omissions and confusions, but it's still a fascinating look outside of that familiar world and into a harsher one.
    • 60 Metascore
    • 60 Tasha Robinson
    The lack of plot coherence is a lingering irritant in a film that otherwise seems to be trying to improve on its cinematic-series forebears.
    • 60 Metascore
    • 48 Tasha Robinson
    Cianfrance pushes too hard for his audience's emotional response, with little nuance and strange selectivity.
    • 60 Metascore
    • 58 Tasha Robinson
    It's rarely tedious, but it's also rarely insightful or propulsive, and since there's nothing new to discover about the characters or their world, much of the film feels like a protracted, contrived pause, as everyone waits for Rapace to finally get back into the game.
    • 60 Metascore
    • 40 Tasha Robinson
    The whole exercise feels hopelessly shallow and artificial. In Her Shoes is basically a double-date romantic comedy, in which not one but two women find themselves and learn to live and love again, etc. etc., and while it's well-acted on most counts, it's also as plodding as it is obvious.
    • 60 Metascore
    • 50 Tasha Robinson
    Tomorrowland comes across as a grinning rictus of a movie, a desperate door-to-door evangelist trying to force its foot into the door and push its salvation by any means possible.
    • 60 Metascore
    • 60 Tasha Robinson
    As silly as it is, Sisterhood is smart as well, about the modern draw of victimization and attention, and how people (not just girls, and not just teenagers) who live life on a perpetually scrolling online stage can become starved for validation in any form.
    • 59 Metascore
    • 58 Tasha Robinson
    A harmless feel-good movie that tries to tell audiences what it's like to be a victimized immigrant, and mostly winds up telling them what it's like to have their heartstrings yanked, gratuitiously and often.
    • 59 Metascore
    • 50 Tasha Robinson
    Ten years from now, Beowulf may look like the groundbreaking project that helped kill live-action movies, but for the moment, its uncomfortable jokes and fakey rendering of life leave it wedged firmly in the uncanny valley. (Insert your own joke about Jolie's astonishing animated anatomy here.)
    • 59 Metascore
    • 58 Tasha Robinson
    While the content is colorful and the actors seem up for the task, a flawed script and Oristrell's unemphatic direction let all the impact dribble away.
    • 59 Metascore
    • 50 Tasha Robinson
    Unbroken just piles on the misery without tonal shift, any sense of rise and fall, or any interest in Zamperini’s inner life, beyond his catchphrase, “If you can take it, you can make it.”
    • 59 Metascore
    • 50 Tasha Robinson
    There's nothing cute, cloying, or playful about the lovers in Sergio Castellitto's opaque romantic drama Don't Move, but in their way, they're as incomprehensible as the stars of any gimmicky comic love film.
    • 59 Metascore
    • 58 Tasha Robinson
    Eastwood's prim, respectful biography presents Hoover in turn as a muddy political metaphor, a lesson in self-mythologizing, and a case history in repression, but never particularly as a man.
    • 59 Metascore
    • 50 Tasha Robinson
    The film respects its cartoon roots, but never its audience.
    • 59 Metascore
    • 50 Tasha Robinson
    For a movie about a love so powerful that it brings people back from the dead, it's curiously tepid. In spite of its repeated, overwrought image of grey, dead zombie hearts flushing and throbbing with new life, it lacks a beating heart of its own.
    • 59 Metascore
    • 42 Tasha Robinson
    Like the dream it so closely resembles, it's fairly distracting while it's going on, but it fades into forgettable nonsense by the light of day.
    • 59 Metascore
    • 50 Tasha Robinson
    Tonally, Miss You Already is a slapdash mess of achingly sincere moments and tasteless jokes.
    • 59 Metascore
    • 58 Tasha Robinson
    At least "Elegy" has some passion. Learning To Drive has harmless sweetness, many revealing speeches about life, and a Kingsley performance that shades strongly into a “Robin Williams as a straight-faced foreigner” routine.
    • 59 Metascore
    • 60 Tasha Robinson
    There are no surprises in Dreamer--except that for all its visible and unselfconscious schmaltz, it's actually pretty enjoyable.
    • 59 Metascore
    • 58 Tasha Robinson
    In spite of its predictability, it's a nifty story in the abstract, and Davis certainly makes the most of the opportunity to examine the world from an ant's-eye view.
    • 58 Metascore
    • 51 Tasha Robinson
    The film never comes up with a mission statement or a message that might tie together its wandering scenes, or explain its vague melancholy.
    • 58 Metascore
    • 40 Tasha Robinson
    The cast is too big, the setting too obviously stagey, the issues too diffuse, the personalities too simple.
    • 58 Metascore
    • 49 Tasha Robinson
    Eventually, even perpetual pursuit gets dull, and Jason Bourne finds that point early, then just keeps charging monotonously forward.
    • 58 Metascore
    • 50 Tasha Robinson
    It's more like watching a typical animated-shorts collection - a few highlights, a lot of clinkers - than like watching an actual movie.
    • 58 Metascore
    • 42 Tasha Robinson
    That’s no huge surprise, given the last two Shrek films, but it’s still dispiriting watching a once-promising series make ever-greater commitments to apathy.
    • 58 Metascore
    • 57 Tasha Robinson
    The place the story ends doesn't necessarily fit with where it began, which leaves Hologram feeling like a fractured and uncertain oddity. But at least by the end, it's a beautifully melancholy oddity. It's inconsistent in its intentions, but at least some of those intentions are good ones.
    • 58 Metascore
    • 50 Tasha Robinson
    Greenberg and Thurman are both engaging, but they can't quite compensate for their characters' shallowness. Streep, on the other hand, just can't stop compensating. Her oy-vey-can-you-believe-the-kid-and-his-shiksa performance is all studied mannerisms with no real heart.
    • 57 Metascore
    • 50 Tasha Robinson
    The film makes funny use of music (particularly Lionel Richie's "Hello") and excellent use of Malkovich, but it literally only has one idea in its head, and when that idea runs dry, it's as lost as Conway is without his plethora of Kubrick masks.
    • 57 Metascore
    • 60 Tasha Robinson
    Part of the point may be how trauma simplifies life by stripping away everything inessential, but just as there’s little satisfaction in watching Daisy pursue an unworthy goal, there’s little satisfaction in watching a specific, colorful, keenly felt portrait become such a familiar story.
    • 57 Metascore
    • 45 Tasha Robinson
    Burton's adaptation of Ransom Riggs' 2011 bestseller is a manic but emotionally inert movie that packs on the quirks without finding any personality underneath them.
    • 57 Metascore
    • 60 Tasha Robinson
    By establishing some of the Glade’s castes, rituals, and personalities, the writers make an incredibly contrived scenario seem a little more tangible. But once that high gear is engaged, the IQ and ambition drop precipitously.
    • 57 Metascore
    • 58 Tasha Robinson
    Like its early predecessors, it's a nominally fun trip, but it's tissue-thin and instantly forgettable.
    • 57 Metascore
    • 50 Tasha Robinson
    Given the subject matter, the answer to "Why watch this doc?" should be "Because it is fantastic." But Geffen, like Everest, will have to settle for "Because it is there."
    • 57 Metascore
    • 42 Tasha Robinson
    There are complicated elements at work here, with threads of curdled vengeance, victim entitlement, and insanity bound together in ways it would take a much smarter film to unravel. Snow White And The Huntsman doesn't try, and the film just keeps getting dumber as it goes along.
    • 57 Metascore
    • 51 Tasha Robinson
    While it's admirable that Guest is enthusiastically rooting for his characters, there's nothing particularly funny about it.
    • 56 Metascore
    • 58 Tasha Robinson
    While Broom largely isn't a broad comedy, it still rarely goes for restraint in anything but tone.
    • 56 Metascore
    • 50 Tasha Robinson
    Maleficent is out of balance in all sorts of ways. The effective silent sequences conflict with the frustratingly talky ones. The new material fits poorly with moments that directly quote the classic.
    • 56 Metascore
    • 58 Tasha Robinson
    Trouble is, it's too rambling and digressive to feel focused, yet too calculating to feel as observational and natural as a good Altman flick.

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