Tasha Robinson

Tasha Robinson

Agrees with the Tomatometer 77% of the time.

Publications:
AV Club , Chicago Tribune , Los Angeles Times , Metromix.com , Orlando Weekly , The Dissolve
Total Reviews:
458

Listing Of All Reviews & Articles

Showing 1 - 50 of 458
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Rating T-Meter Title | Year Add Date
4.5/5 97% Ernest & Célestine (2014) " Ernest & Celestine isn't just cute or thrilling, though: It's openly funny, in a wry, unpredictable way [...] It explores the silly side of the bear/mouse dynamic without puncturing the specificity that makes the story work." — The Dissolve
Posted Mar 14, 2014
2.5/5 78% Mr. Peabody & Sherman (2014) " The prospect of the two needing each other, but being separated by uncaring bureaucrats, might be poignant, if it weren't handled so loudly and brainlessly[.]" — The Dissolve
Posted Mar 7, 2014
3.5/5 88% The Wind Rises (2014) " The Wind Rises' minimal moral component doesn't get in the way of Miyazaki's always-compelling imagery." — The Dissolve
Posted Feb 20, 2014
2.5/5 33% A Fantastic Fear of Everything (2014) " [A Fantastic Fear of Everything] leaps all over the place narratively and conceptually, servicing the comedy of every individual scene without considering or linking the others." — The Dissolve
Posted Feb 13, 2014
4.5/5 —— The War Between Men and Women (1972) " [W]hat differentiates [The War Between Men and Women] from the Knocked Ups of the world is how uproarious the funny parts get, in part because they're so daringly nasty, and how authentic and well-earned the ending seems by comparison." — The Dissolve
Posted Feb 6, 2014
2.0/5 4% I, Frankenstein (2014) " I, Frankenstein looks suspiciously like it was conceived more as a ready-made franchise property than as a strong individual story. " — The Dissolve
Posted Feb 6, 2014
3.5/5 99% Gloria (2014) " Most films past the mid-life point either don't acknowledge romance and sexuality, or make it the central point of the story; the frank, comfortable, yet warmly erotic way Gloria deals with it is a breath of fresh air. " — The Dissolve
Posted Feb 6, 2014
95% Amadeus (1984) " Forman's tormented, iconoclastic subjects are often pitted against iconic or impersonal antagonists, but Amadeus' conflict remains rivetingly intimate, in spite of its sumptuous, larger-than-life settings." — AV Club
Posted Feb 4, 2014
1.5/5 11% The Nut Job (2014) " [P]icking and choosing the worthwhile moments out of this disorganized grab bag of tones, gags, and ideas feels like picking through a cheap assortment of mixed nuts, looking for the occasional pecan among peanuts." — The Dissolve
Posted Jan 31, 2014
3/5 75% The Hobbit: The Desolation Of Smaug (2013) " Jackson's The Hobbit...is shaping up as a weirdly overblown attempt to force a much smaller story into the epic size of his previous movies." — The Dissolve
Posted Dec 12, 2013
89% Tokyo Godfathers (2003) " No amount of shoehorned-in razzle-dazzle can keep this forced fable from feeling like a shadow of Kon's early work." — AV Club
Posted Dec 9, 2013
3.5/5 89% Frozen (2013) " Following closely in the footsteps of 2010's Tangled,...Frozen hits many of the same beats, and finds some of the same freshness in a complicated family dynamic." — The Dissolve
Posted Dec 2, 2013
97% Spirited Away (2001) " Miyazaki's luminescent, gorgeously realized world is relatively safe for children, but it also acknowledges blood, pain, dread, and death in ways that other animated films wouldn't dare." — AV Club
Posted Nov 27, 2013
2/5 46% The Book Thief (2013) " The Book Thief crams story after story into such a small space that it can't realize any of them in depth." — The Dissolve
Posted Nov 14, 2013
3/5 67% How I Live Now (2013) " As Daisy's situation worsens, she becomes progressively less clear, specific, and interesting as a character, and flattens into a generic striver, except when she's being nasty." — The Dissolve
Posted Nov 7, 2013
2.5/5 60% Ender's Game (2013) " It's a brutal story and a heady high-concept idea, but it plays out through characters with no identity other than their symbolic ones, and through shouted, simplistic arguments that repeat the same points over and over." — The Dissolve
Posted Oct 31, 2013
4/5 94% Dallas Buyers Club (2013) " It's a formulaic story that takes full advantage of these broad, familiar formulas to win viewers, but finds enough unique detail to retain its own identity." — The Dissolve
Posted Oct 30, 2013
3.5/5 100% The Square (2013) " While The Square isn't always cohesive, or even informative, it feels more honest than a more packaged story would be." — The Dissolve
Posted Oct 24, 2013
2.5/5 22% Romeo and Juliet (2013) " ...an abbreviated version that preserves the high points, zips past the rest, and never approaches the depth of the full text." — The Dissolve
Posted Oct 10, 2013
4/5 97% Let The Fire Burn (2013) " The second most striking thing about Jason Osder's documentary Let The Fire Burn is that it's composed entirely of archival footage. But the most striking thing is the actual story it tells with that footage." — The Dissolve
Posted Oct 2, 2013
1.5/5 —— The Citizen (2013) " It's pushing its agenda at every moment, first gently, then relentlessly." — The Dissolve
Posted Sep 30, 2013
4/5 68% Haute Cuisine (2013) " Vincent seems to have consciously designed Haute Cuisine as a small movie...But that simplicity is a winning choice." — The Dissolve
Posted Sep 19, 2013
3.5/5 89% Rush (2013) " Rush's changing sympathies keep the outcome in doubt, and stage the final contest breathlessly, while sticking to the facts." — The Dissolve
Posted Sep 19, 2013
3/5 49% Thanks For Sharing (2013) " The many-threaded approach makes it feel narratively rich and sophisticated, but it also shorthands and shortchanges some of the most interesting characters. " — The Dissolve
Posted Sep 19, 2013
2.5/5 45% All Is Bright (2013) " A film that veers between caustic comedy, melodrama, and heartstring-tugging, without finding the spark of sympathy that would hold the film together." — The Dissolve
Posted Sep 16, 2013
3/5 58% Riddick (2013) " Riddick taps into a primal well of audience wish-fulfillment, but over the course of its unrelieved, monotonous length, it does its best to suck that well dry." — The Dissolve
Posted Sep 6, 2013
2.5/5 30% Austenland (2013) " Austenland embraces convention, and the result is a romantic comedy in which the ending seems not just foreordained, but promised via contract from the first moment of the film." — The Dissolve
Posted Aug 15, 2013
2/5 29% Kick-Ass 2 (2013) " A messy, confused, over-the-top mixture of brutality and sick comedy, puckishness and ugliness, self-awareness and tone-deafness." — The Dissolve
Posted Aug 15, 2013
2/5 26% Planes (2013) " It's a pleasant enough expression of a series of familiar story beats, but apart from a few brief action-sequence moments, it could hardly be more rote or vanilla." — The Dissolve
Posted Aug 8, 2013
2.5/5 68% El artista y la modelo (The Artist and the Model) (2013) " While The Artist And The Model is about an artist rediscovering his creative passion through a vibrant young woman, it's remarkably distant and bloodless about the process." — The Dissolve
Posted Aug 1, 2013
1/5 14% The Smurfs 2 (2013) " The problem with Smurfs 2 isn't the message, it's the way the film repeats it so baldly and emphatically that even the youngest kids can get it." — The Dissolve
Posted Jul 30, 2013
3/5 100% Cloudburst (2013) " In its peaceful moments, it's a gem, but the wild stabs at wacky comedy are usually groaners, a shame in a story that's so smart and savvy when it isn't showing off, being dense, or winding down to a painfully pat ending." — The Dissolve
Posted Jul 26, 2013
3/5 69% The Wolverine (2013) " The Wolverine does stand out, and even excels, in many isolated places ... It's just that the great pieces don't fit together to suggest a whole." — The Dissolve
Posted Jul 25, 2013
3.5/5 96% Babettes Gæstebud (Babette's Feast) (1987) " While Babette's Feast is bleak, and often ponderous and stony, it eventually resolves as a moving hymn to art." — The Dissolve
Posted Jul 23, 2013
1.5/5 42% Red 2 (2013) " RED 2 is perilously close to a formulaic romantic comedy, with a predestined couple going around in predictable relationship-ruining circles while everyone else interferes and dispenses advice." — The Dissolve
Posted Jul 18, 2013
3.5/5 98% Blackfish (2013) " Blackfish does an admirable job of preaching without force-feeding, seamlessly blending opinion with reportage, and addressing its central issues from enough angles to make a series of end-runs around dubious viewers." — The Dissolve
Posted Jul 18, 2013
3/5 74% Despicable Me 2 (2013) " The assumption seems to be that the public can't get enough Minions. Despicable Me 2 sets out to test that assumption to its absolute limit." — The Dissolve
Posted Jul 11, 2013
4/5 78% Monsters University (2013) " It's a strong look at the genesis of a satisfying partnership, but it could be stronger if it trusted that partnership to carry the story." — The Dissolve
Posted Jul 11, 2013
2.5/5 67% World War Z (2013) " The film doesn't hold together in any rational way, but it still has a lingering emotional power." — The Dissolve
Posted Jul 11, 2013
2/5 38% The Purge (2013) " What should be a taut thriller stretches into an overextended slog with periodic scolding lectures." — The Dissolve
Posted Jul 11, 2013
B+ 85% Graceland (2013) " None of this could work without a stellar performance from Reyes, who anchors the film with distress and panic, but also with basic humanity." — AV Club
Posted Apr 25, 2013
B- 63% Unmade In China (2013) " [It] becomes an onsite mouthpiece for a pouting, passive-aggressive filmmaker who desperately needs an outlet." — AV Club
Posted Apr 18, 2013
B 54% Oblivion (2013) " An unsettling sense of not-quite-right coats all of the film's steely surfaces, and Kosinski and his co-writers give audiences plenty of time to absorb the unease and gear up for the action." — AV Club
Posted Apr 18, 2013
B 68% Trance (2013) " Narratively, Trance is questionable, but Boyle and Hodges whisk past all the unlikely developments with enough verve and style to keep audiences from thinking too hard until after they've left the theater." — AV Club
Posted Apr 4, 2013
B- 68% Wrong (2013) " There's a sly brilliance to the way Dupieux responds to audience expectation by repeatedly, pointedly violating Chekhov's Law." — AV Club
Posted Mar 28, 2013
C+ 8% The Host (2013) " Niccols always picks unusual, intriguing projects, and gives them a distinctive look, but the emotional core of his stories sometimes escapes him." — AV Club
Posted Mar 28, 2013
D- 28% Upside Down (2013) " Moment for moment, Upside Down is the most embarrassing, hilarious, obliviously stupid movie since M. Night Shyamalan's The Happening, and its constant pursuit of a striking image over any other consideration undermines it at every turn." — AV Club
Posted Mar 14, 2013
C- 36% The ABCs of Death (2013) " Most are rushed exercises in telegraphic storytelling, struggling to make a point, or at least find a punchline, in a bare few minutes." — AV Club
Posted Mar 7, 2013
B- 68% The We and the I (2013) " There's a lot to love about the film, but it can get buried under the attempts to tell everyone's story at once." — AV Club
Posted Mar 7, 2013
A- 95% War Witch (2013) " War Witch is a remarkably mature portrait that trusts its audience to have their own reactions to its material; it doesn't yank at the heartstrings so much as expertly tune them." — AV Club
Posted Feb 28, 2013
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