Tasha Robinson
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For 496 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Wreck-It Ralph
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 49 out of 496
496 movie reviews
    • 43 Metascore
    • 42 Tasha Robinson
    Those dance sequences are Step Up Revolution's major sticking point. No one goes to a dance movie for the plot, but the lower the expectations drop for the story, the higher they rise for the raison d'être performances.
    • 43 Metascore
    • 40 Tasha Robinson
    A short and soppy story that Coyote lends some dignity, but not much power.
    • 43 Metascore
    • 42 Tasha Robinson
    Many of the shorts are visibly impressive, given their scant budgets, and there’s no end of visual and thematic creativity stretched throughout the anthology; there are, after all, a million horrible, memorable ways to die.
    • 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.
    • 43 Metascore
    • 75 Tasha Robinson
    Machine Gun Preacher is stirring when it presents Childers as a hero, but it does its most impressive work when it addresses him as a flawed, struggling, but still determined man.
    • 43 Metascore
    • 70 Tasha Robinson
    Holmes’ performance helps Miss Meadows considerably: It’s so relentlessly upbeat and deliberately artificial that it admits no cynicism or judgment, and it makes the film daringly weird.
    • 42 Metascore
    • 50 Tasha Robinson
    For all its successes, Bones remains more crafted than sincere, more meant to look achingly pretty on the screen than to resonate in the heart.
    • 42 Metascore
    • 67 Tasha Robinson
    While Sanctum is frustratingly familiar, it's easy to get caught up in the action.
    • 42 Metascore
    • 20 Tasha Robinson
    Audience members are likely to feel like they're right there in the picture, suffering for no reason and trying to pretend it's funny.
    • 42 Metascore
    • 50 Tasha Robinson
    Austenland embraces convention, and the result is a romantic comedy in which the ending seems not just foreordained, but promised via contract from the first moment of the film.
    • 42 Metascore
    • 50 Tasha Robinson
    Solidly mindless, breathless summer fun.
    • 42 Metascore
    • 42 Tasha Robinson
    Like those mild old Disney comedies of the ’60s and ’70s, it seems perfectly content with being a harmless distraction.
    • 42 Metascore
    • 42 Tasha Robinson
    The training montage where Lincoln learns to twirl his axe around his body like a baton for no apparent purpose is neither the movie's first laughable sequence nor its last, but it sums up the movie's aesthetic: The filmmakers mistakenly think nothing is silly if it's done with a grim enough facial expression.
    • 41 Metascore
    • 42 Tasha Robinson
    While Princess Kaiulani makes do with what story it has, the film feels stretched and straining, full of sleepy scenes and pregnant pauses.
    • 41 Metascore
    • 58 Tasha Robinson
    Only those already predisposed to love a TMNT movie that at least LOOKS edgy are likely to care.
    • 41 Metascore
    • 58 Tasha Robinson
    Lightning is a funny, fast-moving movie, packed with barbed one-liners, goofy hyperbole, and all the oversized exasperation of teen angst. But it's too acid, particularly where Colfer is concerned.
    • 41 Metascore
    • 40 Tasha Robinson
    A messy, confused, over-the-top mixture of brutality and sick comedy, puckishness and ugliness, self-awareness and tone-deafness.
    • 41 Metascore
    • 42 Tasha Robinson
    Pointing out G-Force’s plot holes would be redundant; it’s more hole than plot, and more videogame commercial and exhausted-old-trope clearinghouse than film.
    • 41 Metascore
    • 50 Tasha Robinson
    It’s all tasteful and polished to a fault, but it feels like exactly what it is: an abbreviated version that preserves the high points, zips past the rest, and never approaches the depth of the full text.
    • 40 Metascore
    • 67 Tasha Robinson
    Surprise number one: It's smarter than it looks. Surprise number two: That doesn't entirely ruin it as an action film.
    • 40 Metascore
    • 30 Tasha Robinson
    With so many plot hooks and so many story demands, it's incomprehensible that Kaena spends so much time on meaningless action.
    • 40 Metascore
    • 75 Tasha Robinson
    While the stitches holding together the plot are clearly visible, Igor breathes some enjoyable life into its stolen grab-bag of gimmicks.
    • 40 Metascore
    • 40 Tasha Robinson
    Its busy, stiff, artificial graphics are a perfect match for its busy, stiff, artificial plot. A simple Shirow pinup parade might almost be preferable.
    • 40 Metascore
    • 58 Tasha Robinson
    Like the big shiny sphere at its center, the film is fairly pretty, but there's no real sense that there's anything inside it.
    • 40 Metascore
    • 67 Tasha Robinson
    As absorbingly weird and dark and sad as the film becomes, it still labors against jumpy construction, an irritating variety of visual styles and film stocks, and a crowded story that no one gets much individual screen time, which means that redemption for everyone comes far too quickly and neatly.
    • 40 Metascore
    • 16 Tasha Robinson
    In every aspect, from story to tone to characterization to visual aesthetic, it's laughably perfunctory, as though everyone involved were too embarrassed to give it more than a half-ironic token effort.
    • 39 Metascore
    • 75 Tasha Robinson
    A film that’s largely a raw, uplifting love letter to creativity in every possible form.
    • 39 Metascore
    • 33 Tasha Robinson
    At least when they're singing, they aren't sniping and griping at each other. That original title really would have worked a lot better.
    • 39 Metascore
    • 50 Tasha Robinson
    Moshonov's capering, wheedling, and stagey monologuing become deeply taxing, and so does the conclusion, which makes more sense as metaphor than narrative.
    • 39 Metascore
    • 42 Tasha Robinson
    There's a noble cause buried under all the clumsy speeches, blatant manipulations, and foreordained conflicts, but the thudding lack of subtlety proves exhausting.
    • 39 Metascore
    • 50 Tasha Robinson
    At this point, the Resident Evil movie franchise has become a personal playground for husband-and-wife team Paul W.S. Anderson and Milla Jovovich; every few years, they find another excuse to pit Jovovich's videogame-inspired dark superhero, Alice, against zombies and other gruesome monsters.
    • 39 Metascore
    • 50 Tasha Robinson
    Largely, it’s a jellybean of a movie: bright, colorful, sugary, and with no real content.
    • 39 Metascore
    • 16 Tasha Robinson
    Watching the film is strangely like looking at the same three still frames of supernatural battles over and over for 90 minutes.
    • 39 Metascore
    • 40 Tasha Robinson
    It’s a pleasant enough expression of a series of familiar story beats, but apart from a few brief action-sequence moments, it could hardly be more rote or vanilla.
    • 39 Metascore
    • 42 Tasha Robinson
    Simply put, From Prada To Nada is "Sense And Sensibility For Dummies."
    • 38 Metascore
    • 30 Tasha Robinson
    Even the animation is imitative rather than inventive.
    • 38 Metascore
    • 33 Tasha Robinson
    Perelman's follow-up, The Life Before Her Eyes, finds him clumsily trying to outdo M. Night Shyamalan.
    • 38 Metascore
    • 33 Tasha Robinson
    Final score: Book 1, Movie 0.
    • 38 Metascore
    • 30 Tasha Robinson
    There are no casual conversations in The Citizen, and no idle moments. It’s pushing its agenda at every moment, first gently, then relentlessly.
    • 38 Metascore
    • 50 Tasha Robinson
    In theory, the film is another hoary exploration of the pressures of modern womanhood, but in practice, it offers the exact same thing as those NYC ingénue books: cookie-cutter wish-fulfillment and lifestyle porn for easily pleased, lonely romantics.
    • 37 Metascore
    • 60 Tasha Robinson
    Third Person’s considerable strengths generally come from the actors.
    • 37 Metascore
    • 50 Tasha Robinson
    Not that anything in Judy Moody is meant to be taken seriously - or could be, even if it was meant to - but even for sugary neon fluff, it's awfully lightweight.
    • 37 Metascore
    • 25 Tasha Robinson
    The overall experience is manic, juvenile, and hit-or-miss, as if the auteurs behind "Epic Movie" were trying to remake "Wag The Dog." It's too soon to laugh about Iraq, and it'll never be time to laugh about it with this kind of maladroit humor.
    • 37 Metascore
    • 50 Tasha Robinson
    Shamelessly manipulating his audience, wallowing in his highly questionable premise, and above all mocking himself, Arnold bulls ahead enthusiastically and without reservation, and in the process, he brings something like dignity to one of the least dignified movies in recent history.
    • 37 Metascore
    • 30 Tasha Robinson
    Even at 86 minutes, with plenty of chases and action sequences thrown in, The Nut Job feels overstretched and arbitrary.
    • 36 Metascore
    • 42 Tasha Robinson
    For a bad, broad comedy, Tooth Fairy boasts a surprising number of positives. Which isn’t to say that it’s good, but it could be much, much worse.
    • 36 Metascore
    • 50 Tasha Robinson
    Yamazaki is clearly a science-fiction fan himself, and in Returner, he shows some worthwhile style, if only by stealing the biggest and best possible elements for his serviceably entertaining genre mashup.
    • 36 Metascore
    • 42 Tasha Robinson
    The major problem is the death of a horror film: It's startling, but not particularly scary.
    • 36 Metascore
    • 33 Tasha Robinson
    Turns a cultishly creepy classic into a dull and windy farce.
    • 36 Metascore
    • 42 Tasha Robinson
    Story remains Vanguard's weak point.
    • 36 Metascore
    • 42 Tasha Robinson
    There's a ton of backstory behind Underworld: Evolution, which gets slightly denser and rowdier than its predecessor, but it's ultimately all in the service of a nigh-endless series of numbing, mechanical battles in which snarling protagonists and CGI monsters shoot, claw, and bloodily eviscerate each other. In other words, it's "Underworld," but more of it.
    • 36 Metascore
    • 42 Tasha Robinson
    By the end, the most charming thing about The Art Of Getting By is that while its adults cut Highmore far too much slack, they aren't Hughes-movie oblivious idiots, and they eventually draw a few firm lines. Unfortunately, the movie isn't daring enough to follow suit.
    • 36 Metascore
    • 67 Tasha Robinson
    The film's pieces don't always fit together, but even in isolation, some of those pieces are well worth watching.
    • 36 Metascore
    • 25 Tasha Robinson
    The film still suffers from cheap plasticky design, a klutzy overall look, dim preschooler humor, and a nearly impact-free story that thinks it's clever when it steals cues from 2001.
    • 36 Metascore
    • 42 Tasha Robinson
    Frey didn't really need a ghostwriter for this story, he just needed an archivist with a Xerox machine and a mercenary streak.
    • 36 Metascore
    • 75 Tasha Robinson
    Superhero fans will likely be into Push just for the cool-factor of watching embattled heroes and villains in tense war of wits, wills, and skills. That broader audience is less likely to come along for the ride.
    • 35 Metascore
    • 58 Tasha Robinson
    With its simple-goal-driven plot, its wordy, cutscene-like interludes, and its stiffly modeled characters, it wouldn't even make for a particularly high-end videogame.
    • 35 Metascore
    • 42 Tasha Robinson
    The film's ambitions are woefully small and familiar.
    • 35 Metascore
    • 42 Tasha Robinson
    No exciting action can cover the film's profound shallowness and repulsive attitude toward everyone but Christensen.
    • 35 Metascore
    • 42 Tasha Robinson
    At least in the last half-hour, Bay's incredibly sloppy continuity and overeager rush to action pays off.
    • 35 Metascore
    • 58 Tasha Robinson
    The Host is a step up from the endless metaphorical lectures and gaping plot holes of Niccol’s last film, In Time, but its muffled emotions, delivered with Twilight-esque blank-eyed calm, put it in the same category of a creative idea hamstrung in execution.
    • 35 Metascore
    • 58 Tasha Robinson
    Identity Thief establishes its priorities: Expansive character business is front and center; actual character-building is in the margins, almost off the map.
    • 35 Metascore
    • 33 Tasha Robinson
    By the time Olyphant leaves an enemy in the most ridiculous deathtrap since the '60s "Batman," just because it looks kinda neat, the whole project has started to feel like "Ultraviolet 2: The Further Stupidening."
    • 35 Metascore
    • 50 Tasha Robinson
    It’s unchallenging fun for a younger crowd, but adults might feel like they’re staring down a colorful 24-piece board puzzle, trying to figure out how such a simple activity could be drawn out over 90 minutes.
    • 35 Metascore
    • 42 Tasha Robinson
    Director Peter Webber can't do much about what's missing from the story: a soul or a sense of purpose.
    • 34 Metascore
    • 25 Tasha Robinson
    It's almost charming in its sheer lack of ambition, but the lack of creativity in its by-the-numbers shocks is harder to excuse.
    • 34 Metascore
    • 20 Tasha Robinson
    The problem with Smurfs 2 isn’t the message, it’s the way the film repeats it so baldly and emphatically that even the youngest kids can get it. Also, the way it surrounds that message with groin-smashing and farting.
    • 33 Metascore
    • 40 Tasha Robinson
    House Of D never feels honest, but when Duchovny consciously tries to score sentiment points, the strain is more than the film can handle.
    • 33 Metascore
    • 50 Tasha Robinson
    The film contains almost no rough edges; thanks to decades of previous use, just about every shot and sequence is as polished as a riverbed stone.
    • 33 Metascore
    • 16 Tasha Robinson
    All the thought seems to have gone into the marketing, and none into the unfathomably terrible script.
    • 32 Metascore
    • 33 Tasha Robinson
    A cartoonishly grim supernatural thriller that could stand a lot less talk and a lot more thrills.
    • 32 Metascore
    • 75 Tasha Robinson
    The Rise Of Cobra holds to a thrill-ride sensibility that’s unchallenging and more than a little goofy, but exciting and consistently well-managed.
    • 31 Metascore
    • 42 Tasha Robinson
    When the left-field ending finally arrives, it explains a lot, including why she's so off-putting and histrionic, but it never really explains why audiences should bother sitting through such a tangled mess.
    • 31 Metascore
    • 50 Tasha Robinson
    Fantastic Fear leaps all over the place narratively and conceptually, servicing the comedy of every individual scene without considering or linking the others. Some of those individual scenes are marvelous, though.
    • 30 Metascore
    • 25 Tasha Robinson
    The whole movie is just one increasingly dull roll downhill. The same could be said for this once-fresh franchise.
    • 30 Metascore
    • 33 Tasha Robinson
    Actual kids may find this fun, but for adults, watching The Smurfs may feel a little too much like trying to wrangle an overcrowded kiddie birthday party.
    • 30 Metascore
    • 40 Tasha Robinson
    While it’s nothing new and lacks individualistic touches, it’s still solid trashy fun as an overwrought superhero origin story.
    • 29 Metascore
    • 42 Tasha Robinson
    If this uninspired fight-fest had been delayed out of existence, it's unlikely anyone would have missed it.
    • 29 Metascore
    • 42 Tasha Robinson
    The main difference is that while the "Twilight" films strive for straight-faced grimness, Red Riding Hood often verges on outright florid hilarity. It isn't laughing at itself, but that needn't stop the audience.
    • 28 Metascore
    • 42 Tasha Robinson
    Even Eddie Murphy's endless hyper "Shrek" vamping is more entertaining.
    • 28 Metascore
    • 25 Tasha Robinson
    The film looks dispiritingly cheap and, as if in response, most of his cast seems half-committed at best, as if they're counting the moments until they can move on to a bigger picture.
    • 27 Metascore
    • 20 Tasha Robinson
    Doesn't have much to offer viewers who aren't still eagerly awaiting their first adult tooth.
    • 26 Metascore
    • 25 Tasha Robinson
    While the ending is wretchedly fakey and predictable, Murphy in subdued mode gives it a little authentic sweetness.
    • 26 Metascore
    • 42 Tasha Robinson
    Tucker Max’s only real strengths are his outrageousness and his uncompromising self-confidence, but neither comes into play in this punch-pulling, frankly boring film.
    • 26 Metascore
    • 16 Tasha Robinson
    So sanctimonious and sincere in its pandering.
    • 25 Metascore
    • 16 Tasha Robinson
    It’s the kind of wretched embarrassment that may leave viewers trying to suspend the belief that they’re still sitting in the theater watching it.
    • 25 Metascore
    • 20 Tasha Robinson
    Deadly dull.
    • 24 Metascore
    • 20 Tasha Robinson
    A plodding, bloated, long-shelved adaptation/expansion of Ray Bradbury's classic short story about the dangers of time travel.
    • 24 Metascore
    • 16 Tasha Robinson
    For the much-cheaper-looking sequel, Piranha 3DD, director John Gulager mostly seems to be trying to see how much he can degrade the old "Jaws" formula and still have it interpreted as parody rather than apathy.
    • 23 Metascore
    • 30 Tasha Robinson
    Writer-director-producer-actor-composer-singer Soling claims to have spent a year researching the war on drugs before deciding to make a satire instead of a documentary, but he apparently threw most of his facts out the window in favor of absurdism, exaggeration, slander, and self-congratulatory humor.
    • 22 Metascore
    • 0 Tasha Robinson
    Shark Night 3D barely bothered to show up, let alone deliver the minimal goods.
    • 21 Metascore
    • 42 Tasha Robinson
    The grim heroes don't have a nuance or more than a hint of emotion between them, and the same goes for the film around them.
    • 18 Metascore
    • 25 Tasha Robinson
    Underdeveloped antagonist Nick Chinlund sums up the entire film during one of his rants about Jovovich's latest casual, offhand slaughter: "One woman against 14 men! It's ridiculous!" Well, yeah.
    • 18 Metascore
    • 16 Tasha Robinson
    Nutcracker In 3D doesn't just compound past errors in re-imagining the story. Thanks to a big budget, huge staging, massive overacting, and the non-wonders of post-production 3-D conversion, it adds a wide bevy of new errors.
    • 15 Metascore
    • 10 Tasha Robinson
    Impossibly dull form of niche-marketed entertainment.

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