Tasha RobinsonMovie Reviews & Previews - Rotten Tomatoes

Tasha Robinson

Tasha Robinson
Tasha Robinson's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
82% The Founder (2017) The Founder is a compelling story about American inspiration, ambition, and greed, but it's fairly agnostic about the actual product being sold. ‐ The Verge
Posted Jan 19, 2017
17% Underworld: Blood Wars (2017) The entire film has the same blue-and-black color palette, and it gets really samey and visually dreary. It means visibility in a lot of scenes is pretty poor. ‐ The Verge
Posted Jan 10, 2017
100% Bright Lights: Starring Carrie Fisher and Debbie Reynolds (2017) It's a melancholy final visit in light of the recent death of both its subjects. But it's still a rare chance for viewers to sneak behind those weird, eccentric compound gates, and hang out as if they were part of the family. ‐ The Verge
Posted Jan 6, 2017
80% Spectral (2016) For a mainstream supernatural-fantasy war film, Spectral is curiously devoted to rhapsodizing about science, and considering the moral implications of scientific discovery. ‐ The Verge
Posted Dec 15, 2016
76% The Eyes of My Mother (2016) [Pesce] creates some extreme beauty out of ugliness, and he builds amazing tension out of quiet moments and simple movement. ‐ The Verge
Posted Dec 6, 2016
95% Moana (2016) Moana functions as well as it does because the story team ultimately focused on finding everything about Disney stories that worked in 2016, and improving everything that didn't. ‐ The Verge
Posted Nov 29, 2016
73% Fantastic Beasts and Where to Find Them (2016) If nothing else, it's fun to see that there's a Potterverse outside Harry Potter himself. His world has always been big enough to sustain other stories. Finally, it has a chance to. ‐ The Verge
Posted Nov 18, 2016
46% The Bad Batch (2016) The bizarre fortune-cookie philosophy of its coda just emphasizes how impoverished this film feels when it comes to unifying themes, or a big picture that would find meaning in all the little incidents. ‐ The Verge
Posted Oct 14, 2016
64% Miss Peregrine's Home for Peculiar Children (2016) It feels like a curio -- not an eerie, unexplained one, like the vintage photographs that inspired Riggs' Miss Peregrine trilogy, but a dated and familiar one, yanked out of the dusty old boxes piled up in the Burton archive. ‐ The Verge
Posted Sep 30, 2016
92% Queen of Katwe (2016) Mira Nair's inspirational chess drama Queen of Katwe is remarkable in the simplest but most profound way: it's an American film about Africa that doesn't feel like it was made by tourists. ‐ The Verge
Posted Sep 23, 2016
98% Moonlight (2016) One of Moonlight's remarkable strengths is how completely it avoids preaching, after-school messaging, or pat cinematic answers. ‐ The Verge
Posted Sep 15, 2016
53% Mascots (2016) It feels odd to say this, but the primary problem with Christopher Guest's latest improvised-dialogue mockumentary is that it just isn't mean enough. ‐ The Verge
Posted Sep 14, 2016
93% La La Land (2016) The craft of La La Land is impeccable, from the energetically active camera to the staging and production design that re-creates the past without feeling dated. But there's a reckless cockiness to the production as well. ‐ The Verge
Posted Sep 14, 2016
79% American Honey (2016) The joy of American Honey is how easy, relaxed, and sprawling it feels. ‐ The Verge
Posted Sep 14, 2016
89% Loving (2016) It's a patient film, and it requires some patience from its audience. But its rewards are gentle and winning, and for once, a cinematic history lesson that doesn't feel artificial and processed in every pore. ‐ The Verge
Posted Sep 12, 2016
72% The Birth of a Nation (2016) It's not enough to acknowledge that film is doing moviegoers a service in telling a story they may not find familiar. It also has to be acknowledged that it tells it in a wearyingly familiar, conventional way. ‐ The Verge
Posted Sep 12, 2016
85% Sully (2016) It's only appropriate that the film is as competent, efficient, and mildly dull as the people it celebrates. ‐ The Verge
Posted Sep 7, 2016
40% The 9th Life of Louis Drax (2016) Louis Drax shoves magic and monsters into a story that's already overpacked with grindhouse violence, a police procedural, a queasy romance, and incoherent social commentary. ‐ The Verge
Posted Sep 7, 2016
60% The Light Between Oceans (2016) At 132 minutes, the story drags to the point where even natural beauty and sweet intimacy start to wear on the nerves. Cianfrance pushes too hard for his audience's emotional response, with little nuance and strange selectivity. ‐ The Verge
Posted Sep 1, 2016
40% Morgan (2016) First, the film doesn't have any particularly intelligent or clever answers to its own what-if premise. Second, it's operating in the shadow of other science-fiction films that do engage with the same questions. ‐ The Verge
Posted Aug 30, 2016
47% Complete Unknown (2016) The film never comes up with a mission statement or a message that might tie together its wandering scenes, or explain its vague melancholy. In the end, it feels like a life-support system for a single perfect scene . ‐ The Verge
Posted Aug 29, 2016
87% Don't Breathe (2016) Don't Breathe is still a thrilling experience that effectively puts the audience in the protagonists' place: uncertain, cringing, afraid to even breathe because of the potential consequences. ‐ The Verge
Posted Aug 25, 2016
98% Hell or High Water (2016) David Mackenzie's terrifically tense Western Hell or High Water is set in the present, but it keeps emphasizing that in some key ways, life hasn't changed in West Texas since pioneer days. ‐ The Verge
Posted Aug 12, 2016
26% Suicide Squad (2016) It doesn't necessarily fall to this film to define what a villain's journey really means. But like its characters, it's free to operate on its own terms, and it'd be a much stronger story if it took full advantage of that freedom. ‐ The Verge
Posted Aug 2, 2016
81% Equity (2016) The film packs in so much material that it's bound to have dead ends and weak spots, but its confidence in its provocations is compelling. ‐ The Verge
Posted Jul 29, 2016
56% Jason Bourne (2016) Bourne is numbing in its relentless, repetitive pursuit sequences, some of which add absolutely nothing to the story except wrecked cars and extra minutes. ‐ The Verge
Posted Jul 28, 2016
84% Star Trek Beyond (2016) Until a richer villain and more thought-out story come along, we at least have this chapter, which offers fans of the original Trek world some of the things they've most wanted: space to enjoy all their old heroes, and reasons to respect them again. ‐ The Verge
Posted Jul 22, 2016
87% Phantom Boy (2016) It's still something distinctive and different in a sea of shiny mirrors, all reflecting the same slick CGI style back at each other. ‐ The Verge
Posted Jul 20, 2016
70% Café Society (2016) Like so many Allen films, it feels like it was made primarily for his therapist, and letting the rest of the world in to see it and make their own diagnoses is an afterthought. ‐ The Verge
Posted Jul 20, 2016
73% Ghostbusters (2016) Ghostbusters is a lively, hilarious crowd-pleaser, which is all that's really required of a big summer action comedy. ‐ The Verge
Posted Jul 13, 2016
97% Hunt for the Wilderpeople (2016) Like What We Do In The Shadows, Wilderpeople is laugh-out-loud funny and full of left-turn surprises. ‐ The Verge
Posted Jun 29, 2016
57% The Neon Demon (2016) There's still a petty overeagerness to Neon Demon, a [Russ] Meyer-style tackiness that embraces empty metaphor at the expense of character development, or even a coherent story. ‐ The Verge
Posted Jun 24, 2016
94% Finding Dory (2016) Finding Dory isn't a vital addition to the Pixar canon... But it's nice to see Stanton back in his element, especially when he's here to deliver such a helpful, important message in the process. ‐ The Verge
Posted Jun 16, 2016
94% King Jack (2016) Thompson's leads are so natural in their roles, and his filmmaking is so immediate and intimate, that King Jack is instantly absorbing. ‐ The Verge
Posted Jun 10, 2016
28% Warcraft (2016) Warcraft won't go down in history as a ringing success, but people who see it aren't likely to forget it easily, either. It's much more of a commercial endeavor than Jones' other films, but it doesn't abandon art by the wayside. ‐ The Verge
Posted Jun 9, 2016
97% The Fits (2016) What Holmer does offer is a story about suggestion and nuance, about movement and emotion. It's a narrative film, but it feels like a dance piece itself, and it's strongest in its meaningful silences. ‐ The Verge
Posted Jun 3, 2016
80% The Conjuring 2 (2016) Hidden somewhere in the murky shadows of The Conjuring 2 is an utterly terrifying 90-minute horror movie that doesn't waste time on repetition, doubts, sidebar stories, or long conversations. ‐ The Verge
Posted Jun 2, 2016
97% Weiner (2016) Kriegman and Steinberg were granted impressive access to Weiner and his embattled wife Huma Abedin throughout the project, and the authenticity and intimacy of their footage is unbeatable. ‐ The Verge
Posted May 25, 2016
92% The Nice Guys (2016) While the characters are distinctive and charming, and the dialogue is often pretty funny, The Nice Guys is a large step down on the ambition scale from Kiss Kiss. ‐ The Verge
Posted May 19, 2016
89% The Lobster (2016) Lanthimos and Filippou keep the audience guessing about their ultimate ends right up to the final shot, and beyond. ‐ The Verge
Posted May 19, 2016
57% Money Monster (2016) It's easy to see it as a drama that fails to fully address America's shortcomings. It's actually something better: an insightful comedy about human perspective. ‐ The Verge
Posted May 12, 2016
48% X-Men: Apocalypse (2016) You can't play a symphony with a single note. With Apocalypse, Singer never gets around to varying his single, gloomy, dreary tune. ‐ The Verge
Posted May 12, 2016
90% Captain America: Civil War (2016) Civil War lives in those moments when the smashing starts. The central fight between the two halves of the Avengers group is a tremendous sequence, full of imaginative teamwork and impressive effects. ‐ The Verge
Posted May 3, 2016
13% Special Correspondents (2016) Special Correspondents keeps coming up with big ideas, then taking them to undersized ends. ‐ The Verge
Posted Apr 29, 2016
61% High-Rise (2016) Hiddleston's combination of placid calm and seething, hidden rage gives it all an anchor. He isn't exactly accessible, or sympathetic. But he gives the film a memorable central character. ‐ The Verge
Posted Apr 28, 2016
70% A Hologram for the King (2016) It's inconsistent in its intentions, but at least some of those intentions are good ones. ‐ The Verge
Posted Apr 26, 2016
77% Elvis & Nixon (2016) Elvis & Nixon is at its best when it sticks to what-if whimsy and the enjoyable fantasy of worlds colliding, with all the outlandish possibilities that crossover stories suggest. ‐ The Verge
Posted Apr 22, 2016
80% Confirmation (2016) In spite of all the behind-the-scenes tension, the film often lacks a vital spark. Famuyiwa directs it like a middlebrow prestige picture, all tasteful compositions and somber music. It's reserved and dignified, but not creatively staged. ‐ The Verge
Posted Apr 15, 2016
96% Sing Street (2016) Sing Street is the kind of film that enthusiastically bellows its feelings to the sky, with full band accompaniment and a triumphant guitar crescendo to drive it all home. ‐ The Verge
Posted Apr 15, 2016
95% The Jungle Book (2016) It's hard to see any of the Disney remakes as standalone experiences, not living in the shadow of classics. This atmospheric, evocative, and above all, powerful Jungle Book at least makes an effort to come out of those shadows. ‐ The Verge
Posted Apr 14, 2016