Tasha Robinson
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For 514 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 0.3 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Ponyo
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 49 out of 514
514 movie reviews
    • 58 Metascore
    • 42 Tasha Robinson
    That’s no huge surprise, given the last two Shrek films, but it’s still dispiriting watching a once-promising series make ever-greater commitments to apathy.
    • 41 Metascore
    • 42 Tasha Robinson
    While Princess Kaiulani makes do with what story it has, the film feels stretched and straining, full of sleepy scenes and pregnant pauses.
    • 46 Metascore
    • 42 Tasha Robinson
    While both actors have been hammier and more hilarious, and neither one overdoes things enough to be notable, they at least seem to be having loads of flailing fun as they conjure up CGI scenery to chew on. And when Apprentice limits itself to their battle, it's generally fitful dumb fun.
    • 55 Metascore
    • 42 Tasha Robinson
    Weisz makes for a vivid, charismatic Hypatia, but the script lets her down.
    • 61 Metascore
    • 42 Tasha Robinson
    By experiencing Block's films, we aren't merely witnessing his neurosis, we're abetting and validating it.
    • 53 Metascore
    • 42 Tasha Robinson
    They essentially replace the book's blank spaces with gaping plot holes and laughable clichés.
    • 39 Metascore
    • 42 Tasha Robinson
    Simply put, From Prada To Nada is "Sense And Sensibility For Dummies."
    • 36 Metascore
    • 42 Tasha Robinson
    Frey didn't really need a ghostwriter for this story, he just needed an archivist with a Xerox machine and a mercenary streak.
    • 29 Metascore
    • 42 Tasha Robinson
    The main difference is that while the "Twilight" films strive for straight-faced grimness, Red Riding Hood often verges on outright florid hilarity. It isn't laughing at itself, but that needn't stop the audience.
    • 67 Metascore
    • 42 Tasha Robinson
    The sequel remains visually beautiful and strikingly designed, but otherwise, it's a surprise in all the wrong ways.
    • 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.
    • 50 Metascore
    • 42 Tasha Robinson
    While FD5 is less generic and less facilely goofy and ironic than past series installments, it's still a rote execution of formula that scores its biggest points with self-aware references to its predecessors - including a closing-credits montage of kills from Final Destinations past.
    • 35 Metascore
    • 42 Tasha Robinson
    The film's ambitions are woefully small and familiar.
    • 49 Metascore
    • 42 Tasha Robinson
    For a film that takes place in such a cold locale, it all feels awfully warmed-over.
    • 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.
    • 55 Metascore
    • 42 Tasha Robinson
    Westfeldt has a tendency to go over the top, and Friends With Kids in particular has a shrill, smug edge that kills the comedy and the drama alike.
    • 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.
    • 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.
    • 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.
    • 61 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Tasha Robinson
    Tamala 2010 feels like either a singularly detail-organized dream, or an exceptionally formal drug trip.
    • 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.
    • 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.

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