For 475 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 0.5 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Ponyo
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 48 out of 475
475 movie reviews
    • 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.
    • 39 Metascore
    • 42 Tasha Robinson
    There's a noble cause buried under all the clumsy speeches, blatant manipulations, and foreordained conflicts, but the thudding lack of subtlety proves exhausting.
    • 59 Metascore
    • 42 Tasha Robinson
    Like the dream it so closely resembles, it's fairly distracting while it's going on, but it fades into forgettable nonsense by the light of day.
    • 61 Metascore
    • 42 Tasha Robinson
    Turns the franchise into a terrible '80s comedy.
    • 52 Metascore
    • 42 Tasha Robinson
    If Forman is trying to communicate that art isn't an effective way to change American society, he's proved his point neatly with this muddled, wandering dud.
    • 44 Metascore
    • 42 Tasha Robinson
    It's a squeaky clean pre-John Hughes, pre-Farrelly brothers throwback to an era where the words "Disney film" meant something: a movie free of crotch slams, gross-out gags, and tittery innuendo.
    • 53 Metascore
    • 42 Tasha Robinson
    Sheen is often the saving grace of Music Within, thanks to an aggressively profane wit that gives an otherwise tapioca-bland story a little edge.
    • 49 Metascore
    • 42 Tasha Robinson
    It's all good-natured enough. It just isn't actually good.
    • 36 Metascore
    • 42 Tasha Robinson
    The major problem is the death of a horror film: It's startling, but not particularly scary.
    • 35 Metascore
    • 42 Tasha Robinson
    No exciting action can cover the film's profound shallowness and repulsive attitude toward everyone but Christensen.
    • 45 Metascore
    • 42 Tasha Robinson
    While the film's gags don't always jibe with its sincere interviews of Middle Eastern citizens, or its worrisome encounters with the soldiers serving in dangerous territory--the constantly shifting tone provides as many hit bits as misses.
    • 36 Metascore
    • 42 Tasha Robinson
    Story remains Vanguard's weak point.
    • 64 Metascore
    • 42 Tasha Robinson
    Most of the film isn't as willing to reach out to viewers, and most won't be willing to do all the work in order to connect with it.
    • 47 Metascore
    • 42 Tasha Robinson
    Cluttered, flavorless Choke, which crams the novel's nervy narration into an irritating voiceover, and leaps around in time and space with all the attention span of an ADD-addled child.
    • 53 Metascore
    • 42 Tasha Robinson
    Older viewers are more likely to see a muddled film full of one-dimensional characters and insultingly strident politics.
    • 45 Metascore
    • 42 Tasha Robinson
    The film is crammed with treats for old-school "Dragonball" fans, from the inclusion of all these characters (who don't actually do much) to the moment when spiky-haired Goku dons his orange gi. For everyone else, this amounts to another seen-it-before, probably-willing-to-see-it-again distraction.
    • 41 Metascore
    • 42 Tasha Robinson
    Pointing out G-Force’s plot holes would be redundant; it’s more hole than plot, and more videogame commercial and exhausted-old-trope clearinghouse than film.
    • 35 Metascore
    • 42 Tasha Robinson
    At least in the last half-hour, Bay's incredibly sloppy continuity and overeager rush to action pays off.
    • 42 Metascore
    • 42 Tasha Robinson
    Like those mild old Disney comedies of the ’60s and ’70s, it seems perfectly content with being a harmless distraction.
    • 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.
    • 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
    For a bad, broad comedy, Tooth Fairy boasts a surprising number of positives. Which isn’t to say that it’s good, but it could be much, much worse.
    • 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.
    • 58 Metascore
    • 42 Tasha Robinson
    That’s no huge surprise, given the last two Shrek films, but it’s still dispiriting watching a once-promising series make ever-greater commitments to apathy.
    • 41 Metascore
    • 42 Tasha Robinson
    While Princess Kaiulani makes do with what story it has, the film feels stretched and straining, full of sleepy scenes and pregnant pauses.
    • 46 Metascore
    • 42 Tasha Robinson
    While both actors have been hammier and more hilarious, and neither one overdoes things enough to be notable, they at least seem to be having loads of flailing fun as they conjure up CGI scenery to chew on. And when Apprentice limits itself to their battle, it's generally fitful dumb fun.
    • 55 Metascore
    • 42 Tasha Robinson
    Weisz makes for a vivid, charismatic Hypatia, but the script lets her down.
    • 61 Metascore
    • 42 Tasha Robinson
    By experiencing Block's films, we aren't merely witnessing his neurosis, we're abetting and validating it.
    • 53 Metascore
    • 42 Tasha Robinson
    They essentially replace the book's blank spaces with gaping plot holes and laughable clichés.