Tasha Robinson

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For 748 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 0.9 points lower than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Inside Out
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 64 out of 748
748 movie reviews
    • 69 Metascore
    • 74 Tasha Robinson
    It’s appropriately goofy given the premise and the structure, but a brisk pace and a committed cast turns it into a diverting indie horror-movie spin on a familiar gimmick.
    • 60 Metascore
    • 84 Tasha Robinson
    Lightyear is so clearly calibrated to be something more: a thoughtful meditation on the passage of time. And on that level, the film never hits as hard as it’s meant to.
    • 68 Metascore
    • 77 Tasha Robinson
    It’s a movie that may look a lot better in the rearview mirror than it does in the moment.
    • 79 Metascore
    • 82 Tasha Robinson
    Vogt makes deliberate, thoughtful choices that amp up the story’s drama and horror without ever turning it into the kind of action-centric special-effects showcase Americans have come to expect even from their low-budget superpower stories.
    • 65 Metascore
    • 82 Tasha Robinson
    Men
    Men is nearly unique as a horror movie in Harper’s specific response to the threats she faces. But even as she parts ways with the usual wailing victim image, the film still holds onto its sense of the uncanny and horrific. Even seasoned body-horror fans may be shaken by where this film goes in terms of its bloody physicality.
    • 62 Metascore
    • 77 Tasha Robinson
    It’s a strange and memorable film with a unique voice and a unique perspective, and that alone makes it worth seeking out. But just as Stearns’ characters seem to be constantly suppressing a shriek of dismay or despair or defiance, viewers may come out of this one suppressing the urge to go yell at Stearns and demand a satisfaction that the movie isn’t about to offer.
    • 81 Metascore
    • 95 Tasha Robinson
    Everything Everywhere’s multiverse is a remarkably flexible metaphor. It’s equally suitable for expressing some common frustrations the audience may relate to, about botched choices and wasted opportunity. But it’s just as suited for setting up a series of ridiculously kickass action sequences where literally anything is possible, because the characters aren’t bound by reality or causality.
    • tbd Metascore
    • 81 Tasha Robinson
    It unfolds with a fascinating specificity that goes well beyond the Batman details, and unlocks a lot of conversation-starting thoughts about the various ways and reasons people associate with different fandoms.
    • 67 Metascore
    • 70 Tasha Robinson
    By the end of Fresh, the film hasn’t done anything more than restating what it made clear at the start: Dating is hell, and women deserve more than to be treated like pieces of meat.
    • 62 Metascore
    • 76 Tasha Robinson
    The Cursed has its own mythology and some unnerving, bloody innovations around what’s basically a werewolf story, but Ellis gets a lot of his mileage around the standard creature-feature horror-story things he doesn’t do.
    • 79 Metascore
    • 83 Tasha Robinson
    After Yang is intensely internal and personal, as grief so often is, which guarantees it won’t connect with a wide audience. But as a collection of images and moods, all gently nudging at that central question of what defines a person, it’s gravely hypnotic. It’s an old question, asked in a new way, with deepest gravity and respect.
    • 74 Metascore
    • 79 Tasha Robinson
    Timid viewers who are normally averse to horror aren’t going to find much comfort or safety in this movie. But for longtime horror buffs, this feels like something fresh: a simple story, told in the rawest and most startling way, and given a face out of nightmares.
    • 59 Metascore
    • 72 Tasha Robinson
    See For Me updates the home-invasion formula with a couple of clever twists and a key relationship. But writers Adam Yorke and Tommy Gushue and director Randall Okita only push the formula so far before they run out of innovation.
    • 85 Metascore
    • 90 Tasha Robinson
    It’s a hell of an achievement, and the rare case where a remake feels like an act of fervent fandom.
    • 78 Metascore
    • 84 Tasha Robinson
    The Summit of the Gods isn’t a joyous film, and it isn’t a dreamy one. But it does feel like a remarkably insightful meditation, both about what it would really be like to fight your way up Mount Everest, and about why people keep taking up the challenge
    • 46 Metascore
    • 82 Tasha Robinson
    It’s depressing, in more ways than one, given its cynical take on what makes life worthwhile, and what we have to do to preserve it. But it’s also refreshing to see science fiction this aware of how actively we’re careening toward a terrible future, and how our response to it is likely to be specific, personal, and just as selfish as the behavior that gets us there in the first place.
    • 45 Metascore
    • 62 Tasha Robinson
    All that character development goes out the window when everyone’s just focused on surviving the grueling ordeal ahead, but the creators never find a way to vary the action enough to keep it from being grueling for the audience, as well.
    • 49 Metascore
    • 74 Tasha Robinson
    The ending is a bold play in a movie full of bold plays, but it seems designed more to whip up discussion than to draw the narrative together, or to give viewers either a horror-movie catharsis or a marriage-drama resolution.
    • 82 Metascore
    • 88 Tasha Robinson
    Street Gang certainly doesn’t tell the whole story of Sesame Street’s early years — it can’t begin to. But it’s an absorbing, nostalgia-courting start, and for people with fond memories of the show, it’s an unbeatable chance to approach it as an adult, and understand their own childhoods a little better in the process.
    • tbd Metascore
    • 82 Tasha Robinson
    For all the eye-popping battles and fast-moving action, it’s an emotional story that takes the time to explore what its protagonist really wants out of life, and why god-tier power may be as much of a burden as a benefit.
    • 34 Metascore
    • 46 Tasha Robinson
    Thunder Force is only occasionally insightful, and almost never surprising. It’s arriving in a world where people generally expect more from its genre than light, enjoyable performances and a handful of overstretched gags, and that’s all it has to offer.
    • 63 Metascore
    • 80 Tasha Robinson
    In the Earth is an immersive portrait of tribalism and madness, angst and survivalism. And in spite of the somewhat predictable narrative, the film builds to an unshakably tense, unsettlingly eerie conclusion.
    • tbd Metascore
    • 19 Tasha Robinson
    It comes across more like a showreel than a stand-alone film, like, a confusingly edited sizzle teaser for a much more in-depth Doors drama series.
    • 57 Metascore
    • 79 Tasha Robinson
    It’s a pleasant enough hangout movie, and someday it may be held up as a slanted portrait of what mid-2020 felt like for people privileged enough to ignore politics. But it still feels like a minor movie in the face of a major catastrophe.
    • 74 Metascore
    • 72 Tasha Robinson
    Nothing about where the story is going or how it’ll get there stylistically can be taken for granted. That’s one of the biggest joys of Shaw’s projects — the sense of something new and different happening, of that anti-capitalist, anti-conformist, anti-containment bent that stretches throughout the story also extending into every aspect of the film’s aesthetics.
    • 46 Metascore
    • 61 Tasha Robinson
    Purists could well complain at how far Howl’s Moving Castle departs from Jones’ terrific story in order to wedge in Hayao Miyazaki’s longstanding personal obsessions, like flight, the destructive and horrific nature of war, and the way courage conquers evil and love saves lives. But at least the film has a point of view, and the benefit of its creator’s highly specific and recognizable voice. Earwig, by contrast, often feels generic.
    • 83 Metascore
    • 91 Tasha Robinson
    Soul feels like the best Pixar movies used to feel — deeply humanistic, with both silly, kid-friendly humor and a sincere solemnity that feels entirely adult. Docter and Powers weaponize all of this in a story that literally and directly questions the meaning of life.
    • 46 Metascore
    • 48 Tasha Robinson
    The first two movies are packed with “I can’t believe that just happened!” moments. The third one instead chains together a series of “Oh yeah, I’ve seen this before” scenes.
    • 66 Metascore
    • 79 Tasha Robinson
    Scare Me plays some thoughtful games with the idea of horror-comedy, and eventually, Ruben uses the self-aware humor to sharpen the shocks.
    • tbd Metascore
    • 43 Tasha Robinson
    Even as a low-key Netflix time-waster, Fearless isn’t that much fun, except for people who really, really like the idea of super-babies.

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