For 469 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 0.6 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
Average review score: 60
Highest review score: 100 Coraline
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 48 out of 469
469 movie reviews
    • 49 Metascore
    • 42 Tasha Robinson
    For a film that takes place in such a cold locale, it all feels awfully warmed-over.
    • 35 Metascore
    • 42 Tasha Robinson
    The film's ambitions are woefully small and familiar.
    • 57 Metascore
    • 42 Tasha Robinson
    There are complicated elements at work here, with threads of curdled vengeance, victim entitlement, and insanity bound together in ways it would take a much smarter film to unravel. Snow White And The Huntsman doesn't try, and the film just keeps getting dumber as it goes along.
    • 21 Metascore
    • 42 Tasha Robinson
    The grim heroes don't have a nuance or more than a hint of emotion between them, and the same goes for the film around them.
    • 51 Metascore
    • 42 Tasha Robinson
    The extra shading is nice, but it doesn’t change the degree to which Jack The Giant Slayer feels like a paint-by-numbers story.
    • 42 Metascore
    • 42 Tasha Robinson
    The training montage where Lincoln learns to twirl his axe around his body like a baton for no apparent purpose is neither the movie's first laughable sequence nor its last, but it sums up the movie's aesthetic: The filmmakers mistakenly think nothing is silly if it's done with a grim enough facial expression.
    • 36 Metascore
    • 42 Tasha Robinson
    By the end, the most charming thing about The Art Of Getting By is that while its adults cut Highmore far too much slack, they aren't Hughes-movie oblivious idiots, and they eventually draw a few firm lines. Unfortunately, the movie isn't daring enough to follow suit.
    • 54 Metascore
    • 42 Tasha Robinson
    Strangely, this Thatcher biopic might have been far more worthwhile if it wasn't about Thatcher: The aged, dotty stranger hanging out with her dead husband is a more compelling subject.
    • 43 Metascore
    • 42 Tasha Robinson
    Those dance sequences are Step Up Revolution's major sticking point. No one goes to a dance movie for the plot, but the lower the expectations drop for the story, the higher they rise for the raison d'être performances.
    • 50 Metascore
    • 42 Tasha Robinson
    Jack Reacher isn't much of a man, and Jack Reacher isn't the story of a man. It's mythmaking for self-satisfied sociopaths.
    • 62 Metascore
    • 42 Tasha Robinson
    Delpy's work lacks Allen's wry humor and eye-rolling, philosophical acceptance of those characters and their quirks. Her stable of sniping couples and relatives are openly hateful in ways that defy comedy.
    • 50 Metascore
    • 42 Tasha Robinson
    Unfortunately, Canet's 2010 film Little White Lies feels like "Tell No One" minus that inciting incident, and therefore minus the plot.
    • 43 Metascore
    • 42 Tasha Robinson
    Many of the shorts are visibly impressive, given their scant budgets, and there’s no end of visual and thematic creativity stretched throughout the anthology; there are, after all, a million horrible, memorable ways to die.
    • 40 Metascore
    • 40 Tasha Robinson
    Its busy, stiff, artificial graphics are a perfect match for its busy, stiff, artificial plot. A simple Shirow pinup parade might almost be preferable.
    • 50 Metascore
    • 40 Tasha Robinson
    Reeves rigid delivery makes Constantine's occult backstory sound pretentious and silly, and converts Constantine himself into a repressed cipher. The film's biggest revision isn't in not making him blonde, or not making him British. It's in not making him human.
    • 44 Metascore
    • 40 Tasha Robinson
    Still, the central mystery remains effective and compelling for most of the film, until it becomes clear that it's all image and no intent.
    • 33 Metascore
    • 40 Tasha Robinson
    House Of D never feels honest, but when Duchovny consciously tries to score sentiment points, the strain is more than the film can handle.
    • 43 Metascore
    • 40 Tasha Robinson
    A short and soppy story that Coyote lends some dignity, but not much power.
    • 55 Metascore
    • 40 Tasha Robinson
    It's a low-key actor's showreel, harmless and toothless and sleepy. It'd go pretty well with a glass of warm milk.
    • 45 Metascore
    • 40 Tasha Robinson
    It was made fast and cheap, which shows in every none-too-slick frame.
    • 60 Metascore
    • 40 Tasha Robinson
    The whole exercise feels hopelessly shallow and artificial. In Her Shoes is basically a double-date romantic comedy, in which not one but two women find themselves and learn to live and love again, etc. etc., and while it's well-acted on most counts, it's also as plodding as it is obvious.
    • 61 Metascore
    • 40 Tasha Robinson
    The ambition is laudable, but the execution is wanting, and the attempt itself may indicate that Watanabe and company have forgotten what made Cowboy Bebop so much fun.
    • 66 Metascore
    • 40 Tasha Robinson
    At times, Innocence feels like a clip show of Oshii projects past. But the effect proves more dulling than warmly familiar.
    • 56 Metascore
    • 40 Tasha Robinson
    Tamala 2010 feels like either a singularly detail-organized dream, or an exceptionally formal drug trip.
    • 30 Metascore
    • 40 Tasha Robinson
    While it’s nothing new and lacks individualistic touches, it’s still solid trashy fun as an overwrought superhero origin story.
    • 41 Metascore
    • 40 Tasha Robinson
    A messy, confused, over-the-top mixture of brutality and sick comedy, puckishness and ugliness, self-awareness and tone-deafness.
    • 39 Metascore
    • 40 Tasha Robinson
    It’s a pleasant enough expression of a series of familiar story beats, but apart from a few brief action-sequence moments, it could hardly be more rote or vanilla.
    • 58 Metascore
    • 40 Tasha Robinson
    The cast is too big, the setting too obviously stagey, the issues too diffuse, the personalities too simple.
    • 53 Metascore
    • 40 Tasha Robinson
    The Book Thief crams story after story into such a small space that it can’t realize any of them in depth.
    • 52 Metascore
    • 40 Tasha Robinson
    Cuban Fury feels overpadded and distracted, with no time to establish its leads, let alone the bare connection between them that might give viewers a rooting interest in their future.