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 Wreck-It Ralph
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 50 out of 525
525 movie reviews
    • 62 Metascore
    • 60 Tasha Robinson
    Despicable Me 2 has its charms, in its spritely pacing, a rapid-fire gag-delivery system that hits as often as it misses, and especially in its innovative, expansive use of 3-D space.
    • 60 Metascore
    • 60 Tasha Robinson
    The lack of plot coherence is a lingering irritant in a film that otherwise seems to be trying to improve on its cinematic-series forebears.
    • 49 Metascore
    • 60 Tasha Robinson
    Riddick taps into a primal well of audience wish-fulfillment, but over the course of its unrelieved, monotonous length, it does its best to suck that well dry.
    • 54 Metascore
    • 60 Tasha Robinson
    The many-threaded approach makes it feel narratively rich and sophisticated, but it also shorthands and shortchanges some of the most interesting characters.
    • 57 Metascore
    • 60 Tasha Robinson
    Part of the point may be how trauma simplifies life by stripping away everything inessential, but just as there’s little satisfaction in watching Daisy pursue an unworthy goal, there’s little satisfaction in watching a specific, colorful, keenly felt portrait become such a familiar story.
    • 48 Metascore
    • 60 Tasha Robinson
    While Black Nativity often lacks polish and restraint, at least it never lacks for soul.
    • 66 Metascore
    • 60 Tasha Robinson
    It’s hard to fight the feeling that The Hobbit simply isn’t an epic story, and the efforts to expand it into one leave it feeling like an anvil crammed into a sock: The sock is taking on some weird shapes, and it’s being stretched awfully thin.
    • 38 Metascore
    • 60 Tasha Robinson
    Third Person’s considerable strengths generally come from the actors.
    • 50 Metascore
    • 60 Tasha Robinson
    It isn’t just that Gilliam’s ragged, wild style is easily recognizable after nearly four decades of feature films, it’s a sense that Zero Theorem recycles its tone, visual design, and plot points directly from his past work.
    • 56 Metascore
    • 60 Tasha Robinson
    By establishing some of the Glade’s castes, rituals, and personalities, the writers make an incredibly contrived scenario seem a little more tangible. But once that high gear is engaged, the IQ and ambition drop precipitously.
    • 87 Metascore
    • 60 Tasha Robinson
    Seen today, The King And The Mockingbird doesn’t have the tight pacing or propulsive narrative of modern animated stories, or the consistency of a film made to a specific house style. It’s recognizably the work of an idiosyncratic artist dealing in bizarre caricature, and exploring weird ideas... But its visual design and movement are striking, and its story beats are intriguingly unpredictable.
    • 71 Metascore
    • 60 Tasha Robinson
    Reichert and Zaman don’t editorialize, which keeps Remote Area Medical from being preachy, forceful, or didactic, but also leaves it feeling shapeless.
    • 75 Metascore
    • 60 Tasha Robinson
    Like Ghibli’s features, Kingdom is a friendly, elegiac, approachable movie. But it lacks the studio’s well-polished sense of energy and commitment.
    • 62 Metascore
    • 60 Tasha Robinson
    It’s amiable goofiness, delivered at an emphatic, feverish pitch. Inevitably, what works fine in 11-minute episodes becomes strained over 90 minutes on the big screen, especially during a grating musical number about teamwork.
    • 60 Metascore
    • 60 Tasha Robinson
    As silly as it is, Sisterhood is smart as well, about the modern draw of victimization and attention, and how people (not just girls, and not just teenagers) who live life on a perpetually scrolling online stage can become starved for validation in any form.
    • 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.
    • 46 Metascore
    • 58 Tasha Robinson
    The Da Vinci Code isn't terrible. Brown's novel presented its concepts seriously, as food for thought; Howard's glossy version is more of a snack, designed to be taken only slightly more seriously than "National Treasure," and with the much the same sense of a puzzle-based thrill ride.
    • 77 Metascore
    • 58 Tasha Robinson
    Water is gorgeously composed and beautifully shot, with a dogged emphasis on water imagery and symbolism, and a luscious sense for color. It's often profoundly beautiful. But its distanced, calculated attempts to draw sympathy, from its wide-eyed child protagonist to its sad-eyed, personality-free lovers to its fairy-tale ending, all blunt the meaning behind that beauty.
    • 70 Metascore
    • 58 Tasha Robinson
    For a film that pads out such broad slapstick with toilet humor, obnoxious-child antics, and even cute-animal business, Only Human is surprisingly enjoyable, thanks to the filmmakers' relatively low-key, Pedro Almodóvar-style approach.
    • 59 Metascore
    • 58 Tasha Robinson
    In spite of its predictability, it's a nifty story in the abstract, and Davis certainly makes the most of the opportunity to examine the world from an ant's-eye view.
    • 53 Metascore
    • 58 Tasha Robinson
    Tries tremendously hard to win audiences over with manly derring-do, exciting action, and impossible-obstacles-overcome uplift. And it's undeniably compelling for minutes at a time
    • 59 Metascore
    • 58 Tasha Robinson
    While the content is colorful and the actors seem up for the task, a flawed script and Oristrell's unemphatic direction let all the impact dribble away.
    • 41 Metascore
    • 58 Tasha Robinson
    Only those already predisposed to love a TMNT movie that at least LOOKS edgy are likely to care.
    • 52 Metascore
    • 58 Tasha Robinson
    It's unclear whether Frederick's an awful actress or a tremendous one pretending to be awful, but either way, it's hard to pity her nasal, pushy, babyish Iowa girl.
    • 48 Metascore
    • 58 Tasha Robinson
    First-time director Mark Palansky is trying for a deft, hip, modern fairy-tale feel, but the odd material, sprawling story, and complicated tonal balancing act get away from him, and the film winds up as a poorly paced tug-of-war between sweet quirk and sloppy camp.
    • 59 Metascore
    • 58 Tasha Robinson
    A harmless feel-good movie that tries to tell audiences what it's like to be a victimized immigrant, and mostly winds up telling them what it's like to have their heartstrings yanked, gratuitiously and often.
    • 57 Metascore
    • 58 Tasha Robinson
    Like its early predecessors, it's a nominally fun trip, but it's tissue-thin and instantly forgettable.
    • 61 Metascore
    • 58 Tasha Robinson
    Brick Lane comes far too late to be groundbreaking, and tries to do too much to be fully coherent, but its talent for avoiding obvious choices on all fronts, narratively and stylistically, make it worth a look.
    • 56 Metascore
    • 58 Tasha Robinson
    Trouble is, it's too rambling and digressive to feel focused, yet too calculating to feel as observational and natural as a good Altman flick.

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