For 469 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 0.6 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
Average review score: 60
Highest review score: 100 Coraline
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 48 out of 469
469 movie reviews
    • 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.
    • 48 Metascore
    • 50 Tasha Robinson
    The ultimate end of the story reveals that it's all about Sturgess' suffering, which just isn't that compelling a topic. Given its lack of center and balance, the film might more appropriately be called "One Dude."
    • 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.
    • 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.
    • 59 Metascore
    • 50 Tasha Robinson
    The film respects its cartoon roots, but never its audience.
    • 59 Metascore
    • 50 Tasha Robinson
    For a movie about a love so powerful that it brings people back from the dead, it's curiously tepid. In spite of its repeated, overwrought image of grey, dead zombie hearts flushing and throbbing with new life, it lacks a beating heart of its own.
    • 51 Metascore
    • 50 Tasha Robinson
    It’s a brutal story and a heady high-concept idea, but it plays out through characters with no identity other than their symbolic ones, and through shouted, simplistic arguments that repeat the same points over and over.
    • 74 Metascore
    • 50 Tasha Robinson
    While Frankenweenie is pleasant enough as a curated tour through horror's past, it doesn't add much to its present.
    • 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.
    • 65 Metascore
    • 50 Tasha Robinson
    It's too focused on capturing a bygone moment and portraying it as the present, while the band and the couple have inevitably moved on, to a new album, a high-profile suicide at one of their concerts, a band hiatus, and well beyond.
    • 66 Metascore
    • 50 Tasha Robinson
    Theoretically, the "Bring It On" model can be applied to any remotely performative art. All it takes is a certain level of sass, some eye-catching performance showcases, and a plot where a talented outsider livens up a moribund group with some fresh ideas. Pitch Perfect slaps that stencil onto college a cappella singing groups, with a smattering of success.
    • 45 Metascore
    • 50 Tasha Robinson
    Where the first two films maintained a breathless tone and found new ground in the zombie genre by linking a physical virus to demonic possession, [REC]3: Genesis runs out of ideas early, and becomes a slogging massacre spiked with callbacks and visual gags.
    • 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.
    • 53 Metascore
    • 50 Tasha Robinson
    It’s a modest, reserved character piece that doesn’t push an agenda. The problem is that it comes across as if it lacks opinions, rather than holding them back.
    • 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.
    • 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.
    • 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.
    • 47 Metascore
    • 42 Tasha Robinson
    In Columbus’ hands, it once again all breaks down into a series of rushed, breathless special-effects setpieces, in a thrill ride that isn’t headed anywhere new.
    • 47 Metascore
    • 42 Tasha Robinson
    The story is still mostly fabulous, and its novelty helps carry the film, but this still comes across like a poor high-school stage version: sincere and kind of sweet, but endlessly clumsy.
    • 35 Metascore
    • 42 Tasha Robinson
    At least in the last half-hour, Bay's incredibly sloppy continuity and overeager rush to action pays off.
    • 53 Metascore
    • 42 Tasha Robinson
    Older viewers are more likely to see a muddled film full of one-dimensional characters and insultingly strident politics.
    • 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.
    • 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.
    • 48 Metascore
    • 42 Tasha Robinson
    As it is, the film perpetually teeters on the edge between a functional vehicle and a train wreck, and whenever Allen opens his mouth, he pushes it violently in the latter direction.
    • 44 Metascore
    • 42 Tasha Robinson
    Unknown manages a hat trick by making its march toward the climax so tedious and unlikely that it unravels even as it gets off the ground.
    • 28 Metascore
    • 42 Tasha Robinson
    Even Eddie Murphy's endless hyper "Shrek" vamping is more entertaining.
    • 44 Metascore
    • 42 Tasha Robinson
    Unfortunately, it misses the one cliché that might have been welcome: the predictably plotted flashy dance movie where the actual dance makes it all worthwhile.
    • 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.
    • 29 Metascore
    • 42 Tasha Robinson
    If this uninspired fight-fest had been delayed out of existence, it's unlikely anyone would have missed it.
    • 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.