Tasha Robinson

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For 595 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 0.1 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Toy Story 3
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 55 out of 595
595 movie reviews
    • 75 Metascore
    • 80 Tasha Robinson
    Deserted Station plays out like a dream, but Raisian moves comfortably between fantasy and nightmare, real and surreal.
    • 75 Metascore
    • 83 Tasha Robinson
    The occasional missteps (some overly precious symbolism, the grimy DV look) rarely get in the way of the film’s many winces, gasps, and breathless, cringing anticipation.
    • 75 Metascore
    • 83 Tasha Robinson
    It’s a dark, grim, suffocating story that only missteps by overplaying its hand, making the larger message about prostitution increasingly overt.
    • 74 Metascore
    • 100 Tasha Robinson
    While the scenes don't always fit together thematically or tonally, each one is its own polished gem.
    • 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
    • 73 Tasha Robinson
    It's only appropriate that the film is as competent, efficient, and mildly dull as the people it celebrates.
    • 74 Metascore
    • 83 Tasha Robinson
    As with the Wallace & Gromit films, most of the fun is in the deft characterizations, the zippy banter, and the joyous sight gags.
    • 74 Metascore
    • 80 Tasha Robinson
    Serenity is still taut, immersive, and alternately hilarious and heartbreaking, a well-balanced blend of whooping Wild West action and space opera.
    • 74 Metascore
    • 70 Tasha Robinson
    A little broad comedy keeps things perky, but the kids' excellent, restrained acting and the low-key script by "The Claim" screenwriter Frank Cottrell Boyce hold the whole sprawling project together, from weepy revelations to silly fantasy-saint sequences.
    • 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
    • 70 Tasha Robinson
    At its best, though, it breaks a little more new ground for Disney, escaping the yet-another-princess mode and finding new kinds of family dynamics to explore, and new ways to step outside its long-established boundaries.
    • 74 Metascore
    • 83 Tasha Robinson
    While In Darkness sticks to formula, it brings across that formula effectively.
    • 74 Metascore
    • 83 Tasha Robinson
    This is Csupo's feature directorial debut, but as creator, producer, and writer of "Rugrats" and "The Wild Thornberrys," among several other series, he's had a long career in animation, and he handles the CGI setpieces masterfully.
    • 74 Metascore
    • 80 Tasha Robinson
    It's a patient film, and it requires some patience from its audience. But its rewards are gentle and winning, and for once, a cinematic history lesson doesn't feel artificial and processed in every pore.
    • 74 Metascore
    • 79 Tasha Robinson
    One of Arnold's greatest accomplishments in American Honey is in illustrating, with a loose and comfortable storytelling style, how these misfits build a form of easy intimacy without really opening up to each other, or getting attached.
    • 74 Metascore
    • 50 Tasha Robinson
    Well-crafted but frustratingly superficial documentary.
    • 74 Metascore
    • 75 Tasha Robinson
    It's easier to find enjoyment in Sparrows on a moment-by-moment basis than to swallow its message whole, but that method squares just fine with Majidi's aesthetic, in which tiny, quiet joys are the best kind.
    • 74 Metascore
    • 70 Tasha Robinson
    Impatient adult escorts ought to appreciate the brevity, and their kids should find plenty of good-natured diversion in the film's generally charming story.
    • 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.
    • 73 Metascore
    • 83 Tasha Robinson
    Disney’s triumphant return to hand-drawn 2-D animation still holds an awful lot of familiar, comfort-food charm.
    • 73 Metascore
    • 83 Tasha Robinson
    Nair's film is a joyous triumph in the way it makes the story accessible, without losing sight of the specifics that make it not just a true story, but a complete and real one.
    • 73 Metascore
    • 91 Tasha Robinson
    Yet another celebrity-voiced animal adventure, but it stands out from the crowd of similar films with its lightning wit and whirlwind brio.
    • 73 Metascore
    • 75 Tasha Robinson
    Pirates! comes with all the usual Aardman strengths intact, particularly the sense that its characters and creators alike are too good-hearted and sweet to nitpick.
    • 73 Metascore
    • 83 Tasha Robinson
    Cars is a fine example of the formula, with pleasant chemistry, the patented Pixar cleverness, and the usual sweetly melancholy nostalgia courtesy of songwriter Randy Newman.
    • 72 Metascore
    • 83 Tasha Robinson
    Public Enemy openly raises the question of why officers of the law hated Mesrine so much that they were willing to turn his death into a block party.
    • 72 Metascore
    • 89 Tasha Robinson
    For all Thompson's talent and promise, King Jack still rests most on the actors, and the way they suggest inner worlds deep enough to get lost in, without pushing or forcing the point.
    • 72 Metascore
    • 67 Tasha Robinson
    It plays with comedy and drama, but keeps failing to commit to one or the other.
    • 72 Metascore
    • 76 Tasha Robinson
    Hail, Caesar! is immensely entertaining, but it's also frustratingly discursive, with so many incomplete sidelines and distractions that it suggests an overcrowded but exciting TV pilot more than a self-contained film.
    • 72 Metascore
    • 100 Tasha Robinson
    It's a wildly exciting ride, the fastest-moving, most enthusiastically kinetic kids' action film since "The Incredibles."
    • 72 Metascore
    • 80 Tasha Robinson
    Slow West often feels like the Coen brothers’ rendition of True Grit, if they’d brought Wes Anderson in as a collaborator. It’s a shaggy-dog story full of colorful characters and aimless but diverting narrative byways, all delivered with Andersonian solemnity, against a backdrop of deeply saturated colors and meticulously dressed sets.
    • 72 Metascore
    • 80 Tasha Robinson
    It’s a quiet film of modest narrative ambitions and simple shifts. But its technical and visual ambitions couldn’t be higher. It’s as if Ghibli is still trying to raise its own bar, so that even if it’s going out, it’s reminding viewers what they’d be missing.
    • 72 Metascore
    • 80 Tasha Robinson
    Nimród Antal's terrific feature debut Kontroll takes some time to get up to speed--but once it's fully underway, it develops a heady momentum and a devastating impact.
    • 72 Metascore
    • 75 Tasha Robinson
    Until the "creep + orphans = happy family" formula starts demanding abrupt, unconvincing character mutations, Despicable Me is a giddy joy.
    • 71 Metascore
    • 70 Tasha Robinson
    While "War Within" takes a deeper, more personal look at its protagonist, Paradise Now is a more ambitious film that better contextualizes its central characters and their politics.
    • 71 Metascore
    • 75 Tasha Robinson
    Few kid films manage to assemble this much ambition alongside this much sincere, sweet emotion.
    • 71 Metascore
    • 83 Tasha Robinson
    Maybe Stiller just seems stilted because he's the only one here who isn't playing to the rafters.
    • 71 Metascore
    • 83 Tasha Robinson
    The story should be a standard mismatched-couple-falls-in-love tale, but the script and the sprightly directing give the story plenty of snap and humor, and the animation is so luminously beautiful that even a falling-in-love sequence cribbed in part from The Little Mermaid is overwhelmingly magical.
    • 71 Metascore
    • 70 Tasha Robinson
    Deep Blue is a thrilling film, but not a thoughtful one; it'd be right at home on an IMAX screen, or possibly as the pretty, polished, and vaguely empty Successories poster it closely resembles.
    • 71 Metascore
    • 83 Tasha Robinson
    Like the best claustrophobic thrillers, the film keeps finding clever new ways to complicate what initially seems like a limited setting with limited story options.
    • 71 Metascore
    • 75 Tasha Robinson
    Hurt steals scenes with a brilliantly nuanced character, a man bitter enough to make every line delivered to his peers a challenge or an accusation, yet experienced enough to present those challenges with an ingratiating politesse that only cracks in extremis.
    • 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.
    • 71 Metascore
    • 67 Tasha Robinson
    Cassel is convincing and riveting as Mesrine, which helps balance out the film's problematic slick shallowness and disconnects.
    • 70 Metascore
    • 77 Tasha Robinson
    While the characters are distinctive and charming, and the dialogue is often pretty funny, The Nice Guys is a large step down on the ambition scale from Kiss Kiss. Having deconstructed his favorite genre so perfectly, Black has a harder time reconstructing it without leaving out some pieces.
    • 70 Metascore
    • 67 Tasha Robinson
    House Of Sand is a gorgeous piece of cinema, but by the end, it just dries up and blows away.
    • 70 Metascore
    • 70 Tasha Robinson
    Animated in much the same style as "Perfect Blue," but with greater depth and a more elaborate sense of playfulness, Millennium Actress is a visual feast, but also a mental gymnastics routine.
    • 70 Metascore
    • 91 Tasha Robinson
    An indie version of Gondry's "Eternal Sunshine of the Spotless Mind," albeit with none of the star power, a quarter of the budget, half the angst, and twice the charm.
    • 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
    • 83 Tasha Robinson
    It's an accomplished potboiler entertainment, as calculated and clever as the stories Irving spins to stay afloat in the growing sea of his own lies.
    • 70 Metascore
    • 70 Tasha Robinson
    Their best material, and the film's most authentically Southern humor, comes from their comfortable interactions, their funny tall tales, and their alternating shows of respect and good-natured teasing.
    • 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.
    • 70 Metascore
    • 91 Tasha Robinson
    A surprisingly intimate behind-the-scenes documentary.
    • 69 Metascore
    • 75 Tasha Robinson
    At its best, Brave accesses all the complicated feelings involved between a parent and a rebellious adolescent: the mutual frustration, the lack of communication, the way conflicting desires can mask love without weakening it.
    • 69 Metascore
    • 67 Tasha Robinson
    The premise seems profound, but the claustrophobically inert execution lacks reach or imagination.
    • 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
    • 80 Tasha Robinson
    While The Fault In Our Stars is more pastel watercolor than hard-edged drama, it’s still hugely warm and winning, thanks in large part to Boone’s unfussy, wistful direction.
    • 69 Metascore
    • 91 Tasha Robinson
    The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.
    • 69 Metascore
    • 70 Tasha Robinson
    The entire film vibrates with understated tension, but almost never raises its voice above a hissed threat or a discomfited mutter. For a film with so many life-or-death choices on the line, it’s almost perversely passive.
    • 69 Metascore
    • 75 Tasha Robinson
    Chicago 10 is a lot of fun, but it could stand to take its subjects a little more seriously, if only because they themselves are so frequently goofy that mocking them is complete overkill.
    • 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.
    • 69 Metascore
    • 75 Tasha Robinson
    These stories are frightening, but they contain few shocks or flinches; they're deeper and more psychological, more about adult anxiety than pure terror.
    • 68 Metascore
    • 75 Tasha Robinson
    Ultimately, the problem with Infamous isn't that it revisits Capote's turf--it's that it does the same things well, and leaves the same unsatisfying holes.
    • 68 Metascore
    • 68 Tasha Robinson
    Star Trek: Beyond does have a strength that its two reboot predecessors lacked: it puts the focus squarely on the larger Trek ensemble, rather than solely on Kirk and his relationships.
    • 68 Metascore
    • 80 Tasha Robinson
    The story of America's first successful class-action sexual-harassment lawsuit may sound dull, but Caro ratchets up the intensity until every flung epithet and threat stings. The approach is sometimes shrill, but it's effective.
    • 68 Metascore
    • 81 Tasha Robinson
    The film packs in so much material that it's bound to have dead ends and weak spots, but its confidence in its provocations is compelling.
    • 68 Metascore
    • 83 Tasha Robinson
    The whole film is too reliant on action-movie cuts and zooms, plus James Horner's insistent score, but it's beautifully rendered and convincingly exciting.
    • 68 Metascore
    • 83 Tasha Robinson
    While it's essentially just another slick Spielberg action machine, it's operating effectively on all cylinders throughout.
    • 68 Metascore
    • 75 Tasha Robinson
    Keret’s alternately sweet and bitter sense of humor comes through clearly in $9.99, via warm voicework by vets like Geoffrey Rush and Anthony LaPaglia.
    • 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
    • 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
    • 75 Tasha Robinson
    The Hateful Eight is a feature-length battle between thoughtful sophistication and the filmmaker's sloppiest and most self-indulgent instincts.
    • 68 Metascore
    • 67 Tasha Robinson
    This take on Charlotte's Web has its tacky side, but when dealing with a book this simply sweet and this revered--and given what was done with White's similarly gentle "Stuart Little" only a few years ago--"It could have been worse" practically counts as high praise.
    • 68 Metascore
    • 67 Tasha Robinson
    Hollywood features can be hellish, but in Guest's view, they're no different from "Waiting For Guffman's" community-theater productions, and that's just an impossible message to swallow.
    • 68 Metascore
    • 67 Tasha Robinson
    Take This Waltz is simultaneously a coming-of-age film, a love story, a breakup story, and an indie quirkfest, and it tries to do so many things at once that it can't hit many of its marks cleanly. But at least it's never boring, and rarely predictable.
    • 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.
    • 68 Metascore
    • 70 Tasha Robinson
    Keanu Reeves is the perfect figurehead for this kind of yarn, as he was in The Matrix: Emotionless, poreless, and polished, his character is more a graven idol of vengeance than a human being seeking it.
    • 68 Metascore
    • 83 Tasha Robinson
    Mermin presents all this without editorial comment, and her film would be worth watching if only for its look at a profound culture-clash. But it goes one better, and delves into one of those clashing cultures, capturing it in a moment of change that goes far beyond one beauty academy's superficial concerns.
    • 68 Metascore
    • 75 Tasha Robinson
    Genesis And Lady Jaye accurately portrays a restless artist with a kitchen-sink aesthetic, and offers up a film to match.
    • 67 Metascore
    • 91 Tasha Robinson
    When it's funny, it's hilarious; when it's serious, it's powerful; and either way, it's an endless pleasant surprise.
    • 67 Metascore
    • 83 Tasha Robinson
    For the first time in years, it feels like Disney has done its namesake proud.
    • 67 Metascore
    • 75 Tasha Robinson
    For the most part, they live life convincingly, in a refreshingly inward-looking, well-made film that's smart enough to stay small, and leave the car crashes to the big summer action movies.
    • 67 Metascore
    • 75 Tasha Robinson
    For all the verbal jokery, it's more tragedy than farce.
    • 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
    • 80 Tasha Robinson
    Like The Daily Show, Rosewater makes uncomfortable political realities into wry but uproarious jokes.
    • 67 Metascore
    • 67 Tasha Robinson
    The film, lacking narration or much explanation of the character, is an outsider's version rather than his own. It's intriguing, but almost always frustrating.
    • 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.
    • 67 Metascore
    • 91 Tasha Robinson
    Over The Hedge stands out as genuinely witty and even a little barbed. Its chipper, sneering outsider's look at suburban sprawl and conformity isn't going to change the world, but it's still self-aware enough to be reasonably smart.
    • 67 Metascore
    • 70 Tasha Robinson
    It’s all flawed, and distracted, and conceptually messy, prioritizing color over common sense and energy over consistency. But as an afternoon’s diversion for a handful of misbehaving kids—both within the movie, and within the movie theater—it’s authentically winning.
    • 67 Metascore
    • 75 Tasha Robinson
    The setup is rote, almost insulting, but it's smarter than it looks: Once the pieces are in place, Kazan's script reveals a deeper game.
    • 67 Metascore
    • 80 Tasha Robinson
    Culkin’s terrifically effective performance and Howe’s pitch-perfect writing and directing make Gabriel the kind of insightful, empathetic project that makes cineastes feel good about feeling bad.
    • 66 Metascore
    • 50 Tasha Robinson
    More disappointingly, the entire cast seems less committed than they were the first time out.
    • 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
    • 75 Tasha Robinson
    For the most part, it manages to balance laughs, genuinely rousing moments, and a fully packed agenda into something fleet enough to keep running under the weight of its rich ambitions.
    • 66 Metascore
    • 74 Tasha Robinson
    Felicioli and Gagnol's latest may be trying to do a few too many things at once, given its short length and genial aims. But it's still something distinctive and different in a sea of shiny mirrors, all reflecting the same slick CGI style back at each other.
    • 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
    • 80 Tasha Robinson
    Steamboy adds a touch of innocent wonder to the formula through Ray's eyes, resulting in Otomo's most human film to date, but humanity rarely seems to be among Otomo's priorities. His films seem far more concerned with the spectacle he manages like no one else in animation.
    • 66 Metascore
    • 91 Tasha Robinson
    The Informant! chooses to earn its exclamation point with giggles as well as shock, and the results are thoroughly entertaining.
    • 66 Metascore
    • 75 Tasha Robinson
    The results are scattershot but entertaining, and occasionally eye-opening.
    • 66 Metascore
    • 75 Tasha Robinson
    The film's merry, enthusiastic tone--set largely by Robert De Niro, playing a giddy transvestite sky-pirate to the hilt--is hard to beat.
    • 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.

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