Tasha Robinson

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For 613 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 0.3 points lower than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Coraline
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 58 out of 613
613 movie reviews
    • 55 Metascore
    • 60 Tasha Robinson
    Yes
    Like Potter's "Orlando" and "The Tango Lesson," Yes showcases a craft and a hushed, vibrant intensity that prove compelling even when the story loses its focus.
    • 38 Metascore
    • 60 Tasha Robinson
    Third Person’s considerable strengths generally come from the actors.
    • 62 Metascore
    • 60 Tasha Robinson
    It’s amiable goofiness, delivered at an emphatic, feverish pitch. Inevitably, what works fine in 11-minute episodes becomes strained over 90 minutes on the big screen, especially during a grating musical number about teamwork.
    • 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
    • 60 Tasha Robinson
    It’s hard to fight the feeling that The Hobbit simply isn’t an epic story, and the efforts to expand it into one leave it feeling like an anvil crammed into a sock: The sock is taking on some weird shapes, and it’s being stretched awfully thin.
    • 63 Metascore
    • 60 Tasha Robinson
    Marquis herself rarely comes off as less than fascinating, in spite of her cheaply titillating material.
    • 50 Metascore
    • 60 Tasha Robinson
    It isn’t just that Gilliam’s ragged, wild style is easily recognizable after nearly four decades of feature films, it’s a sense that Zero Theorem recycles its tone, visual design, and plot points directly from his past work.
    • 61 Metascore
    • 60 Tasha Robinson
    It's important to go in knowing the central secret of the movie: Nothing exciting is going to happen. Ever. Armed with that knowledge, viewers should be able to settle down and enjoy the extremely low-key, melancholy character study that plays out between a handful of excellent actors.
    • 54 Metascore
    • 60 Tasha Robinson
    The many-threaded approach makes it feel narratively rich and sophisticated, but it also shorthands and shortchanges some of the most interesting characters.
    • 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.
    • 48 Metascore
    • 60 Tasha Robinson
    Given the talent on display in Sinbad, and the winning brio it dredges out of questionable material, it's easy to wonder what Dreamworks' animation department could accomplish if it stopped following Disney's lead and started forging new paths of its own.
    • 59 Metascore
    • 60 Tasha Robinson
    There are no surprises in Dreamer--except that for all its visible and unselfconscious schmaltz, it's actually pretty enjoyable.
    • 60 Metascore
    • 60 Tasha Robinson
    As silly as it is, Sisterhood is smart as well, about the modern draw of victimization and attention, and how people (not just girls, and not just teenagers) who live life on a perpetually scrolling online stage can become starved for validation in any form.
    • 50 Metascore
    • 60 Tasha Robinson
    Shou focuses on a meaty subject, and he has an insider's access to the world he's exploring. But his behind-the-scenes film doesn't spend nearly enough time behind the scenes.
    • 49 Metascore
    • 60 Tasha Robinson
    Riddick taps into a primal well of audience wish-fulfillment, but over the course of its unrelieved, monotonous length, it does its best to suck that well dry.
    • 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.
    • 52 Metascore
    • 58 Tasha Robinson
    It's unclear whether Frederick's an awful actress or a tremendous one pretending to be awful, but either way, it's hard to pity her nasal, pushy, babyish Iowa girl.
    • 56 Metascore
    • 58 Tasha Robinson
    Trouble is, it's too rambling and digressive to feel focused, yet too calculating to feel as observational and natural as a good Altman flick.
    • 50 Metascore
    • 58 Tasha Robinson
    Trouble is, most of the major changes took place inside her head and heart, which makes her story a natural fit for a book, but an awkward one for a film.
    • 46 Metascore
    • 58 Tasha Robinson
    The Da Vinci Code isn't terrible. Brown's novel presented its concepts seriously, as food for thought; Howard's glossy version is more of a snack, designed to be taken only slightly more seriously than "National Treasure," and with the much the same sense of a puzzle-based thrill ride.
    • 61 Metascore
    • 58 Tasha Robinson
    Brick Lane comes far too late to be groundbreaking, and tries to do too much to be fully coherent, but its talent for avoiding obvious choices on all fronts, narratively and stylistically, make it worth a look.
    • 59 Metascore
    • 58 Tasha Robinson
    While the content is colorful and the actors seem up for the task, a flawed script and Oristrell's unemphatic direction let all the impact dribble away.
    • 47 Metascore
    • 58 Tasha Robinson
    Hotel Transylvania is occasionally the kind of fast-moving, gag-a-second film that relies on quantity of humor rather than quality.
    • 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.
    • 59 Metascore
    • 58 Tasha Robinson
    At least "Elegy" has some passion. Learning To Drive has harmless sweetness, many revealing speeches about life, and a Kingsley performance that shades strongly into a “Robin Williams as a straight-faced foreigner” routine.
    • 53 Metascore
    • 58 Tasha Robinson
    Far too much of the film is devoted to eye-rolling pop-culture gags and long montages set to recycled Elton John songs.
    • 59 Metascore
    • 58 Tasha Robinson
    Eastwood's prim, respectful biography presents Hoover in turn as a muddy political metaphor, a lesson in self-mythologizing, and a case history in repression, but never particularly as a man.
    • 77 Metascore
    • 58 Tasha Robinson
    Water is gorgeously composed and beautifully shot, with a dogged emphasis on water imagery and symbolism, and a luscious sense for color. It's often profoundly beautiful. But its distanced, calculated attempts to draw sympathy, from its wide-eyed child protagonist to its sad-eyed, personality-free lovers to its fairy-tale ending, all blunt the meaning behind that beauty.
    • 65 Metascore
    • 58 Tasha Robinson
    Francine is so minimalist that it has to rely almost entirely on Leo for solidity, and it would be a far stronger film if it supported and framed her more effectively.
    • 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.

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