Tasha Robinson
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For 514 reviews, this critic has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The King
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 49 out of 514
514 movie reviews
    • 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
    • 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
    • 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
    • 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
    • 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.

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