Tasha Robinson

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For 609 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 lower than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The King
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 57 out of 609
609 movie reviews
    • 56 Metascore
    • 70 Tasha Robinson
    It's a difficult balancing act, but Park crafts his layers carefully and masterfully. He's the kind of filmmaker who can meaningfully craft the gory details of an eye-gouging without ever forgetting the message that an eye for an eye leaves the whole world blind.
    • 78 Metascore
    • 70 Tasha Robinson
    None of Ex Machina’s broad strokes are surprising: The story falls out so predictably at every stage that it can be frustrating. It’s the details that are surprising, and purposefully alarming.
    • 75 Metascore
    • 70 Tasha Robinson
    For all its rough, unfinished edges, The Wolfpack is absolutely mesmerizing.
    • 47 Metascore
    • 70 Tasha Robinson
    Sayles' version of reality is grim, but it provides an enlightening, grounding reminder that there's a far more crucial world of politics going on behind the headlines.
    • 77 Metascore
    • 70 Tasha Robinson
    There’s a good deal of the sick-and-twisted element of The ABCs Of Death here, but managed with better pacing, more maturity, and more room to build each segment.
    • 75 Metascore
    • 70 Tasha Robinson
    Howard and Morgan make the journey intense enough to keep audiences guessing up to the finish line.
    • 66 Metascore
    • 70 Tasha Robinson
    Uekrongtham films the saga in gorgeous style.
    • 55 Metascore
    • 70 Tasha Robinson
    Episodic, detached, and lacking in drive, but packed with amazing, hallucinatory dream-imagery that makes real dreams look flat by comparison.
    • 83 Metascore
    • 70 Tasha Robinson
    Taken as a whole, Blackfish does an admirable job of preaching without force-feeding, seamlessly blending opinion with reportage, and addressing its central issues from enough angles to make a series of end-runs around dubious viewers.
    • 81 Metascore
    • 70 Tasha Robinson
    The film sometimes seems to get lost in self-admiration and its own melancholy mood. Still, Amirpour maintains that mood exquisitely well.
    • 69 Metascore
    • 69 Tasha Robinson
    Birth Of A Nation is powerful and effective, but it's spectacle that can't humanize or define its subject.
    • 77 Metascore
    • 69 Tasha Robinson
    Favreau and Marks’ version is surprisingly daring in its use of violence, and its physical and emotional darkness. It’s also creative, occasionally in bizarre and colorful ways.
    • 58 Metascore
    • 69 Tasha Robinson
    Comedy is rarely sympathetic to its victims, but by letting all the major characters serve as each other's karma engines, Stoller and the other writers create a hilarious world where everyone can be equally awful, and equally heroic, and equally ridiculous.
    • 44 Metascore
    • 68 Tasha Robinson
    Waltz is the perfect villain in this setting: He's played this exact role before, as the smug, drawling, creepy aesthete who rarely stops smiling. But he's also capable of pivoting on a dime between real menace and garish, performative evil, between playing a subdued charmer, and the kind of movie-serial baddie who ties women to railroad tracks.
    • 68 Metascore
    • 68 Tasha Robinson
    Star Trek: Beyond does have a strength that its two reboot predecessors lacked: it puts the focus squarely on the larger Trek ensemble, rather than solely on Kirk and his relationships.
    • 69 Metascore
    • 67 Tasha Robinson
    The premise seems profound, but the claustrophobically inert execution lacks reach or imagination.
    • 80 Metascore
    • 67 Tasha Robinson
    While the film will likely stick with viewers, it's ultimately a tossup what they'll remember most: the stunning buildup, or the massive letdown.
    • 62 Metascore
    • 67 Tasha Robinson
    It's still a mixed bag with a lot of cutesy awfulness to wade through, but the acerbic ending is enough of a punchline to suggest that Westfeldt understands what a joke this kind of film can be.
    • 56 Metascore
    • 67 Tasha Robinson
    There's no great art to Fried Worms' simple, family-friendly style and obvious clichés, but there's a refreshing lack of x-treme attitude, slapstick violence, and all the other things that make most kids' movies feel like they were generated by a marketing committee.
    • 53 Metascore
    • 67 Tasha Robinson
    To some degree, it's trying to find the magic in the everyday, but the attempts to ground it are cringe-inducing and problematic.
    • 40 Metascore
    • 67 Tasha Robinson
    As absorbingly weird and dark and sad as the film becomes, it still labors against jumpy construction, an irritating variety of visual styles and film stocks, and a crowded story that no one gets much individual screen time, which means that redemption for everyone comes far too quickly and neatly.
    • 64 Metascore
    • 67 Tasha Robinson
    Nicolas Pesce’s gory writing and directing debut Eyes of My Mother goes all-in on the idea of a remote location where horrible things can happen, and no one will ever know. But Pesce does a lot more with the idea of isolation — emotional, physical, and even moral.
    • 49 Metascore
    • 67 Tasha Robinson
    It's all meant as gory good fun, but once the novelty wears off half an hour in, the rest of the film is only meant for people who absolutely agree with Giamatti's character about that violence thing.
    • 78 Metascore
    • 67 Tasha Robinson
    A solid documentary feeling of “you are there” isn’t always a substitute for “…but here’s what happened when you left, and here’s what it all meant.”
    • 51 Metascore
    • 67 Tasha Robinson
    It's Macbeth by way of “The Covenant,” all brooding pretty-boys with emo eyes and hipster hair, standing around in gauzily decorated rich-kid boudoirs in the dead of night, and at times, it's too overblown to take seriously.
    • 60 Metascore
    • 67 Tasha Robinson
    Trumbo’s writing was so terrific, the film emphasizes, that it outweighed his caustic personality, his unfashionable politics, and the career-threatening dangers of working with him.
    • 59 Metascore
    • 67 Tasha Robinson
    Each of the shorts has a markedly different visual approach, and they feel radically distinct in terms of pacing and editing as well. In spite of the common source material and tone of oppressive psychological horror, these shorts feel like they could be the work of five different people.
    • 60 Metascore
    • 67 Tasha Robinson
    RED
    Part of it is cheap thrills, of course; this is a capable, experienced cast with extensive acting chops, and it's trashy fun watching them descend to the level of the material.
    • 49 Metascore
    • 67 Tasha Robinson
    It's a polished, beautifully shot story, and it acknowledges the messiness of real life. But like real life, it's often baffling and frustrating.
    • 68 Metascore
    • 67 Tasha Robinson
    This take on Charlotte's Web has its tacky side, but when dealing with a book this simply sweet and this revered--and given what was done with White's similarly gentle "Stuart Little" only a few years ago--"It could have been worse" practically counts as high praise.

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