Tasha Robinson
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For 499 reviews, this critic has graded:
  • 50% higher than the average critic
  • 2% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Coraline
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 49 out of 499
499 movie reviews
    • 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.
    • 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.
    • 35 Metascore
    • 58 Tasha Robinson
    With its simple-goal-driven plot, its wordy, cutscene-like interludes, and its stiffly modeled characters, it wouldn't even make for a particularly high-end videogame.
    • 40 Metascore
    • 58 Tasha Robinson
    Like the big shiny sphere at its center, the film is fairly pretty, but there's no real sense that there's anything inside it.
    • 50 Metascore
    • 58 Tasha Robinson
    Trouble is, most of the major changes took place inside her head and heart, which makes her story a natural fit for a book, but an awkward one for a film.
    • 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.
    • 53 Metascore
    • 58 Tasha Robinson
    Unfortunately, the story rarely rises above cookie-cutter kids'-fantasy tropes.
    • 60 Metascore
    • 58 Tasha Robinson
    It's rarely tedious, but it's also rarely insightful or propulsive, and since there's nothing new to discover about the characters or their world, much of the film feels like a protracted, contrived pause, as everyone waits for Rapace to finally get back into the game.
    • 53 Metascore
    • 58 Tasha Robinson
    Far too much of the film is devoted to eye-rolling pop-culture gags and long montages set to recycled Elton John songs.
    • 56 Metascore
    • 58 Tasha Robinson
    While Broom largely isn't a broad comedy, it still rarely goes for restraint in anything but tone.
    • 53 Metascore
    • 58 Tasha Robinson
    Unique as an inspirational personal-achievement film in the way it focuses on the protagonist not merely as a bastion of strength, but as part of a supportive community and family.
    • 65 Metascore
    • 58 Tasha Robinson
    As a sheer visual experience, Puss In Boots makes a great theme-park ride, a thrill-a-minute feast for the eyes and the semicircular canals.
    • 44 Metascore
    • 58 Tasha Robinson
    Poe was a flawed figure, but his greatest strength was in avoiding convention, or reinterpreting it to create something new. The Raven aspires to both, but abandons those ambitions to lie limply on the floor - only this, and nothing more.
    • 76 Metascore
    • 58 Tasha Robinson
    Wasikowska doesn't seem much changed from her "Alice" role, and she trips through Jane's adulthood as though it were a fantasia instead of a moody suspense story.
    • 44 Metascore
    • 58 Tasha Robinson
    Like so many underdog movies, Joyful Noise will go over best with those who show up hugely eager for it to be exactly what it looks like, and to tell them exactly what they want to hear.
    • 46 Metascore
    • 58 Tasha Robinson
    The handful of songs are catchy, and the whole film feels pleasantly airy. But this is a dark story with a heavy message, and it's been transformed into a harmless, pretty confection. In defanging it for comic effect, the filmmakers have done Seuss as much of a disrespectful disservice as if they'd laid on the fart gags.
    • 74 Metascore
    • 58 Tasha Robinson
    At times, Higher Ground feels like a lower-stakes "Welcome To The Dollhouse" for adults: It's a systematically built portrait of disappointment and despair, centering on a perpetual underdog looking for affection and surety in any possible form. But while Higher Ground is less painful than Dollhouse, it's also less passionate.
    • 64 Metascore
    • 58 Tasha Robinson
    The filmmaking is prosaic, the pacing sleepy. It's a solid but unremarkable experience, perfect for insomniacs watching the History Channel late at night, but not nearly as satisfying as simply re-reading Lee's book.
    • 47 Metascore
    • 58 Tasha Robinson
    Hotel Transylvania is occasionally the kind of fast-moving, gag-a-second film that relies on quantity of humor rather than quality.
    • 59 Metascore
    • 58 Tasha Robinson
    Eastwood's prim, respectful biography presents Hoover in turn as a muddy political metaphor, a lesson in self-mythologizing, and a case history in repression, but never particularly as a man.
    • 35 Metascore
    • 58 Tasha Robinson
    The Host is a step up from the endless metaphorical lectures and gaping plot holes of Niccol’s last film, In Time, but its muffled emotions, delivered with Twilight-esque blank-eyed calm, put it in the same category of a creative idea hamstrung in execution.
    • 54 Metascore
    • 58 Tasha Robinson
    Puncture excels in the smaller touches, from Shaw's quiet performance to the woozy, unrushed motel idylls where the hard-driving Weiss finally slows down for a few breaths.

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