For 1,743 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The Double Life of Veronique
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
1743 movie reviews
    • 80 Metascore
    • 80 Scott Tobias
    Compared to the CGI chaos that tends to engulf DCEU and MCU movies, especially in crossover teamups, the clean zip of Pixar animation feels exhilaratingly rare, like a lost language rediscovered.
    • 83 Metascore
    • 90 Scott Tobias
    Newton has made a beautiful little film about sacrifice and redemption, and he earns it one tiny brushstroke at a time.
    • tbd Metascore
    • 30 Scott Tobias
    Nothing this absurd should be this boring.
    • 92 Metascore
    • 95 Scott Tobias
    It doesn’t matter what’s real and not real in The Rider. What matters is that it’s true.
    • tbd Metascore
    • 40 Scott Tobias
    Chrisoulakis and screenwriter Guy J. Jackson attempt a violent, moody neo-noir about Tinseltown fringe-dwellers, but their conceit is flimsy and under-realized, grafting a boilerplate heist story onto a bitter commentary about the corrupting forces of the film industry.
    • 67 Metascore
    • 80 Scott Tobias
    Jed Rothstein’s wildly entertaining documentary The China Hustle blows the lid off another multibillion-dollar heist built on complex financial instruments and a whole lot of smoke and mirrors.
    • tbd Metascore
    • 40 Scott Tobias
    Oenophiles may swoon over the delicious native varietals that tease Quinn’s palate, but Railsback’s thin and disorganized documentary doesn’t go down so smoothly.
    • 48 Metascore
    • 58 Scott Tobias
    Vikander doesn’t do much with a character whose chief attribute is earnestness, but Tomb Raider improves once it gets to the island and lets the derring-do take over.
    • 46 Metascore
    • 40 Scott Tobias
    1:54 intends to be a straight-shooting social drama about the multifaceted problem of bullying in the digital age, but it’s out of touch with how real teenagers think and act and communicate. It’s a modern film that feels like a relic.
    • 80 Metascore
    • 80 Scott Tobias
    Shirkers isn’t about Cardona, but about Tan reclaiming the film and the story that he had taken away from her. Her energized, rough-hewn documentary style doesn’t seem that far removed from her lost debut, but she and her friends have enough perspective to look back at that period in their lives with touching fondness and good humor.
    • 79 Metascore
    • 70 Scott Tobias
    It’s an ideal showcase for the four leads, who are given the latitude to create fully human characters.
    • 38 Metascore
    • 40 Scott Tobias
    Part metaphysical thriller, part inquiry into scientific ethics and the morality of revenge, the sci-fi indie Curvature wants to get the heart racing and the mind bending simultaneously, but flatlines in both departments.
    • 61 Metascore
    • 70 Scott Tobias
    When its many secrets spill out in the finale, “The Housemaid” has to cheat a little to pull off a humdinger of a twist, but it’s enormously satisfying anyway, if only for bringing the core historical conflict back to the fore.
    • tbd Metascore
    • 50 Scott Tobias
    While it’s unfair to expect Driving While Black to be entirely free of happenstance, the film fares best as a pot comedy littered with occasional buzzkills, with Purdy breezily improvising his way through the day.
    • 67 Metascore
    • 50 Scott Tobias
    The Final Year clings to a precooked thesis about the Obama Doctrine that misses the behind-the-scenes drama and candor of superior political documentaries like “The War Room” or “Weiner.”
    • 56 Metascore
    • 50 Scott Tobias
    So little has been done to update or refresh “The Intouchables” for American culture or a new audience that The Upside has no integrity as a separate piece of work. The casting alone is all that’s keeping it from sinking into a cynical act of franchise burnishing.
    • 59 Metascore
    • 50 Scott Tobias
    A few of the gags land, most of them don’t, but the overall rhythm is stilted and rudderless, flattened further by d.p. Paul Suderman’s point-and-shoot camerawork.
    • 54 Metascore
    • 50 Scott Tobias
    A Skyjacker’s Tale is all in the telling, and Jamie Kastner’s haphazard documentary misses the opportunity to get it right, despite having access to Ali and an impressive assembly of major players from his past.
    • 31 Metascore
    • 40 Scott Tobias
    Had Smit developed his themes as scrupulously as his visual effects, Kill Switch might have been the next “Primer” or “District 9,” but instead it feels like a demo reel for a game that nobody can play.
    • 37 Metascore
    • 40 Scott Tobias
    Crowley’s thinly conceived debut feature only has one big joke, and everything around it is either long-winded setup or deflating letdown.
    • 43 Metascore
    • 50 Scott Tobias
    Genre clichés catch up with Schultz just as surely as the past catches up with his characters and the sweet, redemptive possibilities of their relationship gets washed away in the tide of gratuitous bloodshed.
    • 73 Metascore
    • 70 Scott Tobias
    Epperlein offers Karl Marx City as her own act of painful transparency, an essential warning about what happens to societies when ordinary citizens are being watched.
    • 55 Metascore
    • 50 Scott Tobias
    the film thrums with an urgency that’s both asset and liability, at once invested with deep feeling and undone by a barrage of flashbacks, allusions, and counterintuitive bits of wisdom.
    • 85 Metascore
    • 90 Scott Tobias
    With the conceptual rigor and emotional directness associated with the best of Iranian cinema, Oskouei simply listens to the stories of those who have never been listened to before. Their shattering testimony, elegantly harmonized in a chorus of stolen childhood, has universal appeal.
    • 58 Metascore
    • 50 Scott Tobias
    Martin stays within his comfort zone as a New York-based illustrator still processing his mother’s death, but the tyro helmer struggles to square his distinct minimalist charm with the second-hand influence of standard-bearers like Woody Allen and Wes Anderson.
    • 81 Metascore
    • 91 Scott Tobias
    More than merely offering a backstage pass to history, Larraín draws us into the utter uniqueness of a situation where personal loss and national duty collided so violently.
    • 26 Metascore
    • 0 Scott Tobias
    Imagine Paul Verhoeven’s “RoboCop” stripped of its politics, its wit, its humanity, and its craft, and that only gets halfway down the bottom of the barrel scraped by Officer Downe, a hyper-aggressive and thoroughly repugnant piece of comic-book juvenalia.
    • 86 Metascore
    • 80 Scott Tobias
    Story has made a potent political film without having to spray viewers with a fusillade of alarming numbers to back it up. She trusts viewers to intuit their way through fascinating anecdotes and detours that gain a cumulative power, one that data alone cannot possibly express.
    • 72 Metascore
    • 50 Scott Tobias
    With her confident second feature, director Sophia Takal (“Green”) takes on Tinseltown misogyny and the toxic rivalry between friends, but that’s mere prelude to a gonzo meta-fiction that deconstructs itself nearly to death.
    • 74 Metascore
    • 80 Scott Tobias
    Buoyed by Hong’s romantic optimism, the immensely satisfying conclusion hints at the possibility of love as a renewable resource, so long as both partners are flexible to different terms. Yourself and Yours asks the audience to take the same leap — best to keep an open mind and go with the flow.

Top Trailers