Tasha Robinson

Select another critic »
For 619 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 0.6 points lower than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Coraline
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 59 out of 619
619 movie reviews
    • 65 Metascore
    • 72 Tasha Robinson
    This humor could be profoundly ugly, given how it's aimed at reducing other people's grotesque deaths to punchlines. But first-time director Tim Miller keeps the tone light — in his hands, Deadpool is more a snickering, naughty nut than an authentic sociopath.
    • 56 Metascore
    • 72 Tasha Robinson
    Race is exactly the kind of film the Academy loves to honor: bland, uplifting, respectable, engaged with historical social issues, but not too controversial or directly tied to the present.
    • 74 Metascore
    • 70 Tasha Robinson
    Impatient adult escorts ought to appreciate the brevity, and their kids should find plenty of good-natured diversion in the film's generally charming story.
    • 67 Metascore
    • 70 Tasha Robinson
    It’s all flawed, and distracted, and conceptually messy, prioritizing color over common sense and energy over consistency. But as an afternoon’s diversion for a handful of misbehaving kids—both within the movie, and within the movie theater—it’s authentically winning.
    • 74 Metascore
    • 70 Tasha Robinson
    At its best, though, it breaks a little more new ground for Disney, escaping the yet-another-princess mode and finding new kinds of family dynamics to explore, and new ways to step outside its long-established boundaries.
    • 47 Metascore
    • 70 Tasha Robinson
    Greyson does a terrifically empathetic job of putting viewers firmly in the moment, by making it irrelevant exactly when and where that moment takes place.
    • 83 Metascore
    • 70 Tasha Robinson
    While Gloria lacks impact, urgency, or any sense of rising and falling action, it’s beautifully rendered through Benjamín Echazarreta’s warm lens and García’s subtle performance.
    • 43 Metascore
    • 70 Tasha Robinson
    Holmes’ performance helps Miss Meadows considerably: It’s so relentlessly upbeat and deliberately artificial that it admits no cynicism or judgment, and it makes the film daringly weird.
    • 59 Metascore
    • 70 Tasha Robinson
    At 144 minutes, Five Armies is the shortest and the least bloated and discursive of the Hobbit films. It’s also the one that relies least on filler material and extra character business, and the one that most earns its moments of outsized, dire drama.
    • 69 Metascore
    • 70 Tasha Robinson
    The entire film vibrates with understated tension, but almost never raises its voice above a hissed threat or a discomfited mutter. For a film with so many life-or-death choices on the line, it’s almost perversely passive.
    • 57 Metascore
    • 70 Tasha Robinson
    The tenor can be shrill, but there's no time to get bored. And on top of that, most of the gags actually work.
    • 79 Metascore
    • 70 Tasha Robinson
    The film lacks the narrative tightness, stark beauty, and gripping intensity of Granik’s feature-film work. But it has much of the nuance, and the emotional impact.
    • 64 Metascore
    • 70 Tasha Robinson
    Everything about the way this story is rendered makes it feel much bigger than the characters and their limited travails can make it.
    • 59 Metascore
    • 70 Tasha Robinson
    Raw but riveting front-line journalism. Like any good reporter, Davis knows a fascinating story when he sees one, and he goes to impressive lengths to put himself in the middle of it, taking his viewers along for the bumpy ride.
    • 84 Metascore
    • 70 Tasha Robinson
    It catches, in the most authentic and democratic way possible, a collection of people who’ve developed a strong taste for revolution, but are still trying to figure out what to do with it.
    • 74 Metascore
    • 70 Tasha Robinson
    A little broad comedy keeps things perky, but the kids' excellent, restrained acting and the low-key script by "The Claim" screenwriter Frank Cottrell Boyce hold the whole sprawling project together, from weepy revelations to silly fantasy-saint sequences.
    • 57 Metascore
    • 70 Tasha Robinson
    The hypnotic, clicky soundtrack, Bergès-Frisbey’s playful yet sad performance, and a few significant script moments laying out the film’s philosophy all aim toward a sleepy trance that helps put the biggest flaws into soft focus.
    • 75 Metascore
    • 70 Tasha Robinson
    Charlie’s Country is sincere at the expense of nuance, and tragic at the expense of variety: It tends to hit its points over and over, with blunt, on-the-nose sincerity. But Gulpilil’s performance keeps it from crossing too far into hand-wringing preachiness.
    • 70 Metascore
    • 70 Tasha Robinson
    Their best material, and the film's most authentically Southern humor, comes from their comfortable interactions, their funny tall tales, and their alternating shows of respect and good-natured teasing.
    • 71 Metascore
    • 70 Tasha Robinson
    While "War Within" takes a deeper, more personal look at its protagonist, Paradise Now is a more ambitious film that better contextualizes its central characters and their politics.
    • 83 Metascore
    • 70 Tasha Robinson
    While the film’s individual moments and images are often fantastically wrought, the story elements often seem as unintegrated as the moral exegesis.
    • 53 Metascore
    • 70 Tasha Robinson
    Sky Blue is never subtle about its images of loneliness and isolation, or in fact about anything else. But as clichéd as its images are, they're still visually and tonally stunning.
    • 58 Metascore
    • 70 Tasha Robinson
    It’s a ready-made cult movie, complicated and weird and grotesque and distinctly silly, and best when not taken remotely seriously.
    • 54 Metascore
    • 70 Tasha Robinson
    Early on, it feels like it might become one of Allen’s best. Then the narrative direction becomes clear, the possibilities narrow, and the film shuts down along with them.
    • 64 Metascore
    • 70 Tasha Robinson
    The film is as low-key and internal as the meditation it touts, and nearly as uplifting.
    • 80 Metascore
    • 70 Tasha Robinson
    In some moments, White God is a fast-moving thriller... At other times, it’s a standard-issue slasher movie... But when Mundruczó pushes the camera in close on Lili or Hagen, it just becomes a family drama, and a portrait of longing—for freedom, for emotional reciprocity, for comfort.
    • 62 Metascore
    • 70 Tasha Robinson
    Begin Again is all about the untrammeled joys of music, but like a hit pop song, it works better in the emotions than it does through any close examination.
    • 65 Metascore
    • 70 Tasha Robinson
    Garcia's far-more-info-than-tainment style seems a little staid, but Future Of Food's clear, intelligent journalism and rich cinematography help take the edges off the immense brick of data Garcia lobs through the window of America's biotech industry.
    • 80 Metascore
    • 70 Tasha Robinson
    Iris isn’t groundbreaking doc filmmaking, but it’s amiable and jovial in a way rarely seen in the field, which tends more toward drama, trauma, and forwarding big causes. Maysles doesn’t seem to have an agenda, beyond capturing Apfel as she is in this moment, as a complete, highly specific, and thoroughly charming character.
    • 63 Metascore
    • 70 Tasha Robinson
    Batkid’s story is fun in part because it’s so joyously frivolous. He’s cute because he’s a tiny version of a big thing. Trying to blow him up into something bigger than he is spoils some of what makes him special.

Top Trailers