Tasha Robinson

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For 635 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 Sydney White
Score distribution:
  1. Negative: 60 out of 635
635 movie reviews
    • 48 Metascore
    • 37 Tasha Robinson
    This is a familiar tale: man creates monster, monster runs amuck, man regrets playing God. It's just never remotely clear what Scott and Owen found so compelling about this story that they wanted to tell it again, without meaningful variations, and in the immediate wake of better, smarter, more thrilling versions.
    • 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.
    • 44 Metascore
    • 36 Tasha Robinson
    Batman v Superman addresses Man Of Steel's problems in words without learning anything from it in tone. Instead, the new film doubles down on the grimness, the ugliness, and the indifference to human life.
    • 56 Metascore
    • 35 Tasha Robinson
    Joy
    Joy has neither comedy nor nuance going for it. Every character feels like a half-sketched first draft, awaiting development that never comes.
    • 52 Metascore
    • 33 Tasha Robinson
    Beautiful Creatures is an oddball creation: a morality play with no basic understanding of morality.
    • 44 Metascore
    • 33 Tasha Robinson
    Clumsy, ephemeral, and wholly unnecessary.
    • 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.
    • 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."
    • 49 Metascore
    • 33 Tasha Robinson
    A grating muddle.
    • 32 Metascore
    • 33 Tasha Robinson
    A cartoonishly grim supernatural thriller that could stand a lot less talk and a lot more thrills.
    • 38 Metascore
    • 33 Tasha Robinson
    Final score: Book 1, Movie 0.
    • 47 Metascore
    • 33 Tasha Robinson
    There may be nothing new under the sun, but there are at least films that dress up old tropes in new ways. This isn't one of them.
    • 38 Metascore
    • 33 Tasha Robinson
    Perelman's follow-up, The Life Before Her Eyes, finds him clumsily trying to outdo M. Night Shyamalan.
    • 36 Metascore
    • 33 Tasha Robinson
    Turns a cultishly creepy classic into a dull and windy farce.
    • 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.
    • 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.
    • 33 Metascore
    • 32 Tasha Robinson
    The action is frequently too chaotic to register, and the performances are monotonal. There's no personality in this story, or the way it's told.
    • 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.
    • 55 Metascore
    • 30 Tasha Robinson
    From the maudlin musical cues to a senseless romantic subplot that's only barely tacked on, every aspect of Evelyn stabs blindly and insistently at emotional buttons -- Beresford has made the feel-manipulated movie of the year.
    • 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
    • 30 Tasha Robinson
    Even the animation is imitative rather than inventive.
    • 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.
    • 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.
    • 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.
    • 41 Metascore
    • 30 Tasha Robinson
    For all its visual flourishes and fair-to-decent acting, Passengers is a failure of a movie full of missed opportunities.
    • 47 Metascore
    • 30 Tasha Robinson
    The focus is much more on Sarah, Frank, and their repetitive, ugly dynamic than on the giddy elements that made the first film trashy fun.
    • 25 Metascore
    • 29 Tasha Robinson
    Rings is a phenomenally distracted film, and it can’t focus on any one concept for too long.
    • 26 Metascore
    • 25 Tasha Robinson
    While the ending is wretchedly fakey and predictable, Murphy in subdued mode gives it a little authentic sweetness.
    • 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.
    • 55 Metascore
    • 25 Tasha Robinson
    Sometimes the actors lip-sync, but more often, they're singing along with the original vocal tracks, trying to out-belt Elvis Presley and Bruce Springsteen, like a cadre of enthusiastic shower singers joining in with the radio. The resulting cacophony is generally harsh and sloppy, and the film follows suit.

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