Tasha Robinson

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For 582 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 0.2 points higher 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: 53 out of 582
582 movie reviews
    • 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.
    • 58 Metascore
    • 57 Tasha Robinson
    The place the story ends doesn't necessarily fit with where it began, which leaves Hologram feeling like a fractured and uncertain oddity. But at least by the end, it's a beautifully melancholy oddity. It's inconsistent in its intentions, but at least some of those intentions are good ones.
    • 47 Metascore
    • 56 Tasha Robinson
    It's a little unfair to any sequel to use its predecessor as a yardstick rather than considering it on its own merit, but in this case, it's impossible to put the original movie aside. Not just because of the title, but because Sword Of Destiny mimics its predecessor in so many clear and frustrating ways.
    • 48 Metascore
    • 55 Tasha Robinson
    [Bay's] tremendous sentimentality is a major issue, bogging down his efforts at realism in flag-waving, tear-jerking scenes that try to make every heartfelt emotion land with mortar-fire force.
    • 64 Metascore
    • 51 Tasha Robinson
    Café Society is an incredibly pretty movie, and a generally unobjectionable one. But like so many Allen films, it feels like it was made primarily for his therapist, and letting the rest of the world in to see it and make their own diagnoses is an afterthought.
    • 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.
    • 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.
    • 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."
    • 68 Metascore
    • 50 Tasha Robinson
    The film's daring, honest ending helps redeem the uneven drama, but the road there may occasionally try the patience of even the most sympathetic armchair revolutionaries.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Tasha Robinson
    Ten years from now, Beowulf may look like the groundbreaking project that helped kill live-action movies, but for the moment, its uncomfortable jokes and fakey rendering of life leave it wedged firmly in the uncanny valley. (Insert your own joke about Jolie's astonishing animated anatomy here.)
    • 65 Metascore
    • 50 Tasha Robinson
    Kingsley is one of very few lively things about Polanski's plodding, by-the-numbers Oliver Twist. And in this dreary setting, he comes across more as a desperate clown than a saving grace, which makes it all the more awkward that no one else is clowning along with him.
    • 59 Metascore
    • 50 Tasha Robinson
    The film respects its cartoon roots, but never its audience.
    • 59 Metascore
    • 50 Tasha Robinson
    Tonally, Miss You Already is a slapdash mess of achingly sincere moments and tasteless jokes.
    • 66 Metascore
    • 50 Tasha Robinson
    More disappointingly, the entire cast seems less committed than they were the first time out.
    • 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.

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