Tasha Robinson

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For 572 reviews, this critic has graded:
  • 51% higher than the average critic
  • 2% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 0.2 points higher than other critics. (0-100 point scale)

Tasha Robinson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Toy Story 3
Lowest review score: 0 Shark Night 3D
Score distribution:
  1. Negative: 53 out of 572
572 movie reviews
    • 81 Metascore
    • 83 Tasha Robinson
    A film so joyfully insane that it feels like Kon is overcompensating.
    • 76 Metascore
    • 83 Tasha Robinson
    Mangold delivers a taut modern take on a lesser classic, preserving the "High Noon" themes about doing the right thing against all odds, and injecting a more modern pacing and urgency without going overboard. His film isn't Leonard's classic, but it's a solid, genre-respecting Western in its own right.
    • 56 Metascore
    • 83 Tasha Robinson
    The moody tone and carefully balanced drama turn a grubby premise into something unexpectedly elegant.
    • 62 Metascore
    • 83 Tasha Robinson
    For a film about suicide, Wristcutters is agreeably loopy and game. Dukic is bitterly funny rather than maudlin, and his carefully plotted grunge chic, in addition to being cheap, lends the film a great deal of Jim Jarmusch grime to go with its unmistakable Jim Jarmusch quirk.
    • 76 Metascore
    • 83 Tasha Robinson
    Only Washington stands out; he's charming, intense, and charismatic as ever.
    • 58 Metascore
    • 83 Tasha Robinson
    What is surprising is how he (Darabont) rebounds from his weak, awkwardly compressed opening to produce one of the scariest King films since Stanley Kubrick's "The Shining."
    • 65 Metascore
    • 83 Tasha Robinson
    Attempts to address grief frankly, gently, and without didacticism, and it largely succeeds.
    • 62 Metascore
    • 83 Tasha Robinson
    The film bounces along on cheap but entertaining Mel Brooks-worthy audio and visual gags, like the live-chicken-throwing fight, or the sequence where the camera discreetly pans away from Dujardin and a partner making out on his hotel bed--only to focus on a full-length mirror in which they're still fully visible.
    • 49 Metascore
    • 83 Tasha Robinson
    It's a daring, even mildly challenging mixture for a superhero film, and while the pieces don't entirely add up, the puzzle is at least original.
    • 71 Metascore
    • 83 Tasha Robinson
    Maybe Stiller just seems stilted because he's the only one here who isn't playing to the rafters.
    • 67 Metascore
    • 83 Tasha Robinson
    For the first time in years, it feels like Disney has done its namesake proud.
    • 55 Metascore
    • 83 Tasha Robinson
    The film has any number of chances to exploit the setting and Butterfield's wide-eyed innocence, but instead, it mines a vast, eerie tension by keeping both boys in the dark.
    • 88 Metascore
    • 83 Tasha Robinson
    Up
    Up is challenging, emotionally and narratively, but it trusts viewers to keep up; Pixar has never been interested in talking down to children or their parents.
    • 73 Metascore
    • 83 Tasha Robinson
    Disney’s triumphant return to hand-drawn 2-D animation still holds an awful lot of familiar, comfort-food charm.
    • 65 Metascore
    • 83 Tasha Robinson
    In a real sort of way, Gilliam IS Parnassus, carrying his tatterdemalion show forward from year to year and trying to get people to pay attention, and the mingled sense of bitterness and hope in his story makes this whole crazed fantasy into something far more real.
    • 75 Metascore
    • 83 Tasha Robinson
    The occasional missteps (some overly precious symbolism, the grimy DV look) rarely get in the way of the film’s many winces, gasps, and breathless, cringing anticipation.
    • 62 Metascore
    • 83 Tasha Robinson
    At its best, Micmacs is a robust, enjoyably lunatic game. It's social commentary by way of a good Looney Tune.
    • 79 Metascore
    • 83 Tasha Robinson
    What keeps the story fresh isn't so much Guadagnino's swooning sense-reveries, which sometimes flow with dreamlike wonder and sometimes just drag; instead, most of the power comes from Swinton, who always makes the most of characters imbued by passion, but straitjacketed by expectations.
    • 72 Metascore
    • 83 Tasha Robinson
    Public Enemy openly raises the question of why officers of the law hated Mesrine so much that they were willing to turn his death into a block party.
    • 71 Metascore
    • 83 Tasha Robinson
    The story should be a standard mismatched-couple-falls-in-love tale, but the script and the sprightly directing give the story plenty of snap and humor, and the animation is so luminously beautiful that even a falling-in-love sequence cribbed in part from The Little Mermaid is overwhelmingly magical.
    • 88 Metascore
    • 83 Tasha Robinson
    The King's Speech is admirably free of easy answers and simple, happy endings; it's a skewed, awards-ready version of history, but one polished to a fine, satisfying shine.
    • 63 Metascore
    • 83 Tasha Robinson
    There's nothing wrong with animation aimed at adults, but this may be the first kids' movie that throws fewer bones to its supposed intended viewers than to their parents.
    • 87 Metascore
    • 83 Tasha Robinson
    This is the most epic of the Harry Potter movies, the one that finally dispenses with side-quests and open-ended plotlines and offers up all the final payoffs.
    • The A.V. Club
    • 89 Metascore
    • 83 Tasha Robinson
    It's a beautifully shot, beautifully acted piece of fluff.
    • 68 Metascore
    • 83 Tasha Robinson
    While it's essentially just another slick Spielberg action machine, it's operating effectively on all cylinders throughout.
    • 74 Metascore
    • 83 Tasha Robinson
    While In Darkness sticks to formula, it brings across that formula effectively.
    • 65 Metascore
    • 83 Tasha Robinson
    Though Prometheus follows "Alien's" story beats, it's a looser and less satisfying story, more intellectual than visceral, and not fully satisfying on either level. But in part, that's because it's trying to do so much more.
    • 57 Metascore
    • 83 Tasha Robinson
    Plenty of horror movies are willing to settle for making audiences jump. Mama is more ambitious by far: It makes sure viewers are emotionally committed even when they aren't clutching their armrests or covering their eyes.
    • 58 Metascore
    • 83 Tasha Robinson
    Anyone already planning on seeing Stoker, the English-language film debut of Oldboy and Thirst director Park Chan-wook, shouldn’t read this review. Or watch a trailer. Or read anything about it at all, really...It’s best taken one tense, exhilarating moment at a time, without anticipation or expectation.
    • 75 Metascore
    • 83 Tasha Robinson
    It’s a dark, grim, suffocating story that only missteps by overplaying its hand, making the larger message about prostitution increasingly overt.