Tasha Robinson

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For 660 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% 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: 62
Highest review score: 100 Son of Saul
Lowest review score: 0 Sydney White
Score distribution:
  1. Negative: 61 out of 660
660 movie reviews
    • 70 Metascore
    • 81 Tasha Robinson
    Given how much of the film is spent on watching tiny items grow to improbable size, and huge objects shrink down to the scale of toys, it seems only appropriate that Ant-Man and the Wasp neatly balances its big, serious concerns with its little petty ones. It’s a movie that understands all the variances of scale, and takes the audience along for the ride as they constantly change.
    • 80 Metascore
    • 81 Tasha Robinson
    Incredibles 2 is a lighter and more incident-packed adventure. The same characters are running through some of the same emotions but with much less of a sense of weight and impact.
    • 65 Metascore
    • 74 Tasha Robinson
    Given how many zombie stories are basically elaborate wish-fulfillment video games, about blowing away targets, hoarding supplies, and finding a safe spot, Cargo’s quiet acknowledgement that suicide might be a kind option for the infected feels revelatory and even dangerous.
    • 67 Metascore
    • 81 Tasha Robinson
    In the end, it doesn’t feel like Jonathan fully commits to its own premise.
    • 63 Metascore
    • 91 Tasha Robinson
    Too many films that rely on secrets stop being compelling once those secrets emerge. Marrowbone just becomes more compelling. It’s one of the year’s most immaculately crafted movies, and it’s the kind of story that keeps dodging convention right up to the final shot. It fits neatly into the Gothic genre, but it innovates within it at the same time.
    • 45 Metascore
    • 72 Tasha Robinson
    The filmmakers try to innovate largely by making the movie as toothless and easily digestable as possible. Nothing in the film is real enough to care about past the moment, or serious enough to trouble audience’s sleep. Maybe in a world that’s already full of real-life disasters, it’s innovative enough to make monumental destruction this much dumb, lightweight fun.
    • 80 Metascore
    • 71 Tasha Robinson
    The Endless rapidly develops from a mysterious, elliptical story about cult survivors and strained relationships into a much larger and stranger movie, essentially the Aliens to Resolution’s original Alien.
    • 44 Metascore
    • 81 Tasha Robinson
    For viewers who are still impressed by CGI destruction and thrilled by the sight of realistic mechas in action, Uprising is yet another escalation in scale, staged creatively and with apparent love for the old-school kaiju genre.
    • 64 Metascore
    • 81 Tasha Robinson
    The sheer dynamism and energy of the movie are compelling, even when the character drama isn’t.
    • 53 Metascore
    • 42 Tasha Robinson
    It’s a pretty take on the story, but it’s also a frustratingly safe and squishy one. It’s infinitely well-intentioned, full of warm self-affirmation and positivity, and absolutely nothing about it feels emotionally authentic enough to drive those messages home.
    • 79 Metascore
    • 83 Tasha Robinson
    Annihilation is a portentous movie, and a cerebral one. It’s gorgeous and immersive, but distancing. It’s exciting more in its sheer ambition and its distinctiveness than in its actual action.
    • 87 Metascore
    • 86 Tasha Robinson
    Hereditary is a hell of an intense ride, made for a crowd that enjoys heart-clutching adrenaline spikes. The cast is unerringly terrific.
    • 37 Metascore
    • 29 Tasha Robinson
    Unlike the first two films in the series, Cloverfield Paradox doesn’t stand on its own as a horror movie, or even as a standalone story. There’s no central idea, no governing principle, and more to the point, virtually nothing frightening about it. No one involved in creating this movie seemed to have any clue what kind of tale it’s telling from one minute to the next.
    • 85 Metascore
    • 83 Tasha Robinson
    Audiences will likely come away from The Last Jedi with a lot of complaints and questions. But they’re at least likely to feel they’re in the hands of someone who cares about the series as much as they do, someone who loves its history, but sees the wide-open future ahead of it as well.
    • 45 Metascore
    • 71 Tasha Robinson
    Because the film goes in so many tonal and narrative directions, it feels like a grab bag anyone can reach into and fish around in for something to their personal tastes, from dramatic themes to offhand banter, from mindless pummel-fests to thoughtful conversations about heroic responsibility. Justice League isn’t an entirely coherent film, but it’s certainly an egalitarian one.
    • 21 Metascore
    • 41 Tasha Robinson
    Just as trying to keep up with every geopolitical crisis on the planet all at once can be overwhelming, trying to track Geostorm’s name-checked concerns and its barely present characters is likely to tax viewers’ attention spans. Horror movies help people process some of our worst fears, but there’s a reason most movies don’t try to address every human fear at the same time.
    • 27 Metascore
    • 33 Tasha Robinson
    Every retread of a familiar story has to bring something new to the table, if it’s going to justify its existence. Instead, this is yet another cinematic Frankenstein’s monster, stitched together out of scavenged parts, and shocked back to life for no clear or compelling reason.
    • 70 Metascore
    • 77 Tasha Robinson
    At its best, it’s a reminder that King’s biggest strengths lie in his unparalleled ability to build tension, create atmosphere, and tell a direct and brutal story, not in his ability to launch profitable many-branched franchises.
    • 77 Metascore
    • 81 Tasha Robinson
    It’s a heightened, sometimes stagey take on a trashy exploitation flick, but it is mesmerizing.
    • 63 Metascore
    • 67 Tasha Robinson
    It’s frustratingly good at first, and then just frustrating, because it veers away from the things that make it unique, intelligent, and exciting.
    • 87 Metascore
    • 87 Tasha Robinson
    For those capable of falling into the spell del Toro is casting, The Shape of Water is a breathless film, anchored by Hawkins’ visible, ardent longing for connection, and her fierce defiance when the things she loves are threatened.
    • 69 Metascore
    • 72 Tasha Robinson
    The convincing child cast carries the film when the scares start to feel redundant.
    • 34 Metascore
    • 45 Tasha Robinson
    The Dark Tower, helmed by Danish director Nikolaj Arcel, is so simplified in places that it seems outright generic.
    • 73 Metascore
    • 83 Tasha Robinson
    Spider-Man: Homecoming brings the character back to his basics. In the process, it shows why he’s always been such a popular draw, and it makes a strong argument for a branch of the MCU / Sony heroverse that operates on a smaller scale than the rest of the world.
    • 34 Metascore
    • 57 Tasha Robinson
    Given that The Mummy only barely works as a movie on its own account, the question becomes whether it works as a franchise-starter. And the answer is that while its franchise elements are foregrounded, they still aren’t terribly compelling.
    • 76 Metascore
    • 87 Tasha Robinson
    Wonder Woman represents a number of delicate balancing acts: between humor and gravitas; angst and adventure; full-blown, unvarnished superhero fantasy and the DCEU’s usual unpacking of what those fantasies mean.
    • 72 Metascore
    • 69 Tasha Robinson
    From a technical and filmmaking standpoint, nothing about Joshua: Teenager vs. Superpower stands out.... It’s as dry and straightforward as a reputable news report. But from a content standpoint, the film is riveting.
    • 41 Metascore
    • 37 Tasha Robinson
    King Arthur has a vulnerable heart beating somewhere under all the grimy, sweaty muscles lovingly displayed for the camera. It’s just buried too often under narrative chaos, and the inexplicable ideal that if a story runs at double speed and triple energy, the gaping holes in the story will outpace anyone’s notice.
    • 43 Metascore
    • 41 Tasha Robinson
    Virtually none of The Circle has any emotional or narrative impact.
    • 54 Metascore
    • 76 Tasha Robinson
    It’s a sleek and effective thriller, often scary and usually visually impressive. But too often, its reasons for doing absolutely anything amount to “because this is the way Alien did it.”

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