Tasha Robinson

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For 525 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 0.1 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Inside Out
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 50 out of 525
525 movie reviews
    • 42 Metascore
    • 50 Tasha Robinson
    For all its successes, Bones remains more crafted than sincere, more meant to look achingly pretty on the screen than to resonate in the heart.
    • 45 Metascore
    • 50 Tasha Robinson
    The film closely follows the pattern of 1992’s "Lorenzo’s Oil," but with fewer filmmaking risks, visceral emotions, and colorful, outsized characters.
    • 52 Metascore
    • 50 Tasha Robinson
    It’s a frustratingly oblique film where few events connect, and fewer moments matter.
    • 75 Metascore
    • 50 Tasha Robinson
    It comes to American theaters saddled with narration by Pierce Brosnan, who purrs through the gratingly vague script like the world’s plummiest old half-drunken uncle.
    • 57 Metascore
    • 50 Tasha Robinson
    Given the subject matter, the answer to "Why watch this doc?" should be "Because it is fantastic." But Geffen, like Everest, will have to settle for "Because it is there."
    • 66 Metascore
    • 50 Tasha Robinson
    More disappointingly, the entire cast seems less committed than they were the first time out.
    • 55 Metascore
    • 50 Tasha Robinson
    It's artless, obvious, and at times insultingly exaggerated. And yet the real-life story of Chinese ballet dancer Li Cunxin, based on his autobiography, is often dramatic enough to win its way past the silly trappings.
    • 65 Metascore
    • 50 Tasha Robinson
    Most of the content of this film is wheel-spinning or conscious setup for the final installment, and that feels apparent at every melodramatic moment.
    • 63 Metascore
    • 50 Tasha Robinson
    Rio
    Rio could use fresher ingredients and more spice.
    • 52 Metascore
    • 50 Tasha Robinson
    It's a tastefully managed, passionless melodrama, full of brooding looks and reasonably sweet moments, but typified by a scantly characterized central couple who bring no sense of engagement to their relationship.
    • 45 Metascore
    • 50 Tasha Robinson
    Apart from Cruz, who throws herself lustily into her tough-seductress role, the actors give negligible performances, with McShane, Rush, and Keith Richards in a repeat cameo all playing nigh-identical smug glowerers.
    • 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.
    • 42 Metascore
    • 50 Tasha Robinson
    Solidly mindless, breathless summer fun.
    • 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.
    • 53 Metascore
    • 50 Tasha Robinson
    Much like Niccol's "Gattaca," in which genetic perfection rather than time was the weapon a small group of snobby, unworthy elites used to hold down the meek masses, In Time is a chilly, stiff movie where clever ideas are delivered as self-righteous sermons.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 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
    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.
    • 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.
    • 59 Metascore
    • 50 Tasha Robinson
    The film respects its cartoon roots, but never its audience.

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