Tasha Robinson
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For 522 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 0.4 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 522
522 movie reviews
    • 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.
    • 41 Metascore
    • 58 Tasha Robinson
    Only those already predisposed to love a TMNT movie that at least LOOKS edgy are likely to care.
    • 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.
    • 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.
    • 53 Metascore
    • 58 Tasha Robinson
    Unfortunately, the story rarely rises above cookie-cutter kids'-fantasy tropes.
    • 46 Metascore
    • 58 Tasha Robinson
    Many of Flowers' individual performances and scenes are striking and masterful, but taken as a whole, it's less a film than a rallying cry of "Our people feel more deeply than yours."
    • 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.
    • 44 Metascore
    • 58 Tasha Robinson
    Poe was a flawed figure, but his greatest strength was in avoiding convention, or reinterpreting it to create something new. The Raven aspires to both, but abandons those ambitions to lie limply on the floor - only this, and nothing more.
    • 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.
    • 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.
    • 53 Metascore
    • 58 Tasha Robinson
    Unique as an inspirational personal-achievement film in the way it focuses on the protagonist not merely as a bastion of strength, but as part of a supportive community and family.
    • 44 Metascore
    • 58 Tasha Robinson
    Like so many underdog movies, Joyful Noise will go over best with those who show up hugely eager for it to be exactly what it looks like, and to tell them exactly what they want to hear.
    • 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.
    • 57 Metascore
    • 58 Tasha Robinson
    Like its early predecessors, it's a nominally fun trip, but it's tissue-thin and instantly forgettable.
    • 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.
    • 46 Metascore
    • 58 Tasha Robinson
    The handful of songs are catchy, and the whole film feels pleasantly airy. But this is a dark story with a heavy message, and it's been transformed into a harmless, pretty confection. In defanging it for comic effect, the filmmakers have done Seuss as much of a disrespectful disservice as if they'd laid on the fart gags.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 58 Tasha Robinson
    While Broom largely isn't a broad comedy, it still rarely goes for restraint in anything but tone.
    • 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.
    • 54 Metascore
    • 50 Tasha Robinson
    The script is always shakier than the performers trying to bring it across, and by the third act, it lets them down completely.
    • 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.
    • 54 Metascore
    • 50 Tasha Robinson
    A film that veers between caustic comedy, melodrama, and heartstring-tugging, without finding the spark of sympathy that would hold the film together around its disparate tones.
    • 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.
    • 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.
    • 51 Metascore
    • 50 Tasha Robinson
    As trivial as the micro-budget documentary My Date With Drew may seem, it has novelty on its side, and even when that flags, it coasts along on sheer personality.
    • 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.

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