For 1,682 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 1.6 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 4 Months, 3 Weeks and 2 Days
Lowest review score: 0 Norbit
Score distribution:
1682 movie reviews
    • 78 Metascore
    • 75 Scott Tobias
    Benson and Moorhead have made a horror film for jaded aficionados, deconstructing and reconstructing tired elements into a gnarled, distinctive Frankenstein's monster. This monster might ransack a village, but it would have to think about it first.
    • 73 Metascore
    • 75 Scott Tobias
    Watching the Australian coming-of-age film Somersault is a little like watching a fluffy white bunny hop through a minefield, one tiny spring away from becoming tonight's rabbit stew.
    • 59 Metascore
    • 75 Scott Tobias
    Paranormal Activity 3 has one new technical wrinkle, and it's brilliant: In addition to the cameras in the bedroom, Smith mounts a third to the base of a rotating electric fan, so it pans back and forth from the dining room to the kitchen and back again.
    • 71 Metascore
    • 75 Scott Tobias
    Steinbauer's eagerness to draw information--and, let's face it, exclusive new clips--out of his recalcitrant subject borders on exploitation at times, but the smart, cagey Rebney has an agenda of his own that Steinbauer can't entirely control or define. The documentary gives him a forum to be his funny, irreducible self, which is a luxury the accidentally famous are rarely afforded.
    • 64 Metascore
    • 75 Scott Tobias
    The Last Rites Of Joe May succeeds in some of the smaller details and the soulful performances.
    • 74 Metascore
    • 75 Scott Tobias
    Reserving the only trace of editorializing for the end credits, which list some sobering numbers on the occupation and this so-called successful election, Poitras mainly allows her subjects and the circumstances to speak for themselves.
    • 54 Metascore
    • 75 Scott Tobias
    On one level, it's a down-market Star Wars-inspired shoot-'em-up for kiddies; on another, it's a radical alien invasion story where the HUMANS are the aliens.
    • 75 Metascore
    • 75 Scott Tobias
    It's no surprise that Bridemaids sputters, coughs, and lurches, but it's a winning shambles, buoyed by a sharp, balanced comedic ensemble and some truthful observations about how close friends adapt when their lives fall out of step.
    • 68 Metascore
    • 75 Scott Tobias
    When the goal is simply to be as faithful as possible to the material - as if a movie were a marriage, and a rights contract the vow - the best result is a skillful abridgment, one that hits all the important marks without losing anything egregious. And as abridgments go, they don't get much more skillful than this one.
    • 84 Metascore
    • 75 Scott Tobias
    Writer-director Charles Sturridge doesn't mess with the Lassie formula--he provides plenty of dog-porn shots of the collie bounding through scenery in slow motion--but the overqualified cast puts the film over the top.
    • 68 Metascore
    • 75 Scott Tobias
    The film rescues the story from tabloid hell, and asks for a saner assessment of a deeply flawed man.
    • 46 Metascore
    • 75 Scott Tobias
    You, Me And Dupree isn't terribly democratic about spreading the laughs around; whenever Wilson disappears from the screen, the comedy evaporates in kind.
    • 72 Metascore
    • 75 Scott Tobias
    Iron Crows isn't the miserablist wallow you might expect. While director Park Bong-Nam observes the hazards of ship-breaking with a thoroughness that borders on fetishization, he also catches the humor and camaraderie of men in the trenches.
    • 75 Metascore
    • 75 Scott Tobias
    A damning example of justice bending toward those who can most afford to buy it.
    • 76 Metascore
    • 75 Scott Tobias
    If nothing else, Margin Call serves as a rebuke to "Wall Street: Money Never Sleeps" emphatic style - which ultimately glamorizes the profession it means to shame - and brings this dangerous numbers game back to the trading-floor desktops and mahogany-covered conference tables where it belongs. It isn't sexy, but the stakes feel much higher.
    • 63 Metascore
    • 75 Scott Tobias
    The entries aren't equally strong, of course, but each comes from a sharp outsider's perspective, approaching Tokyo as a strange, mysterious organism that infects the populace.
    • 68 Metascore
    • 75 Scott Tobias
    Shot with such grit that the lenses seem coated with grease, Fratricide offers a myopic impression of an unnamed German city, and that's probably the point, since so much of its territory and opportunities are sealed off from these immigrant characters.
    • 63 Metascore
    • 75 Scott Tobias
    The documentary dashes any lingering hope that Pixies would ever record a new album, even though it makes no definitive statement to that effect.
    • 68 Metascore
    • 75 Scott Tobias
    Intimate, moving documentary.
    • 64 Metascore
    • 75 Scott Tobias
    Mostly, Nothing But The Truth operates a lot like Billy Ray's "Shattered Glass" and "Breach," offering up the sort of no-nonsense, meat-and-potatoes docudrama that's in short supply these days.
    • 59 Metascore
    • 75 Scott Tobias
    American Swing could use the flair of similar portraits of disco-era debauchery like "Boogie Nights" or "Inside Deep Throat," but it’s even-handed in capturing the operation’s ambition and hubris. Just don’t bring an appetite.
    • 73 Metascore
    • 70 Scott Tobias
    In an unfortunate case of star casting, Cruise strains credibility as a hard-edged Jersey dockworker.
    • 69 Metascore
    • 70 Scott Tobias
    Lacking a more specific sense of time and place, Cinderella Man leans heavily on the technically proficient Crowe to slip into Braddock's skin, but he can only do so much with a character who's ready to be mounted in bronze over Central Park.
    • 73 Metascore
    • 70 Scott Tobias
    Adapted from a long-running stage play, The Dinner Game has been refined to peak comic efficiency, with every misunderstanding and hare-brained scheme neatly cascading into bigger and bigger catastrophes.
    • 83 Metascore
    • 70 Scott Tobias
    Cutie And The Boxer chronicles a marriage that’s extraordinary in many ways, and ordinary in one—it’s a constant work in progress.
    • 60 Metascore
    • 70 Scott Tobias
    The film seems content with the more modest ambitions of a romantic comedy, albeit one with unusually potent wit and intricate construction. The old Ealing could never have afforded Parker's deluxe treatment of the material; the new Ealing seems to have forgotten the benefits of economy.
    • 85 Metascore
    • 70 Scott Tobias
    Through Brody's remarkably controlled, self-effacing performance, Polanski succeeds in making his hero an invisible man, but the sights he conjures are surprisingly artless and ordinary, familiar from a dozen other Holocaust dramas. Among the casualties in The Pianist is a great director's imagination.
    • 64 Metascore
    • 70 Scott Tobias
    Hopkins' increasing disconnection with his fellow actors and the material nearly sabotages Proof, an otherwise-respectable adaptation of David Auburn's Pulitzer Prize-winning play.
    • 70 Metascore
    • 70 Scott Tobias
    Matti’s primary order of business is regularly serving up tense, stylish action sequences, and he proves more adept choreographing those than sorting out the convolutions of his parallel plotlines.
    • 62 Metascore
    • 70 Scott Tobias
    Willow Creek does everything a little bit better than others of its kind. It’s a little wittier, a little more insightful, a little more imaginative, a little scarier.
    • 61 Metascore
    • 70 Scott Tobias
    Much like his overrated 2000 opus "Platform," Unknown Pleasures spends more energy fussing over the backdrop than on the poor souls languishing in the fore, who have little to do but wander aimlessly and symbolically as life passes them by.
    • 68 Metascore
    • 70 Scott Tobias
    Once these players strap on their skates and take to the ice, it's hard to suppress that lump in the throat.
    • 66 Metascore
    • 70 Scott Tobias
    A powerful documentary about a squad of Army grunts patrolling the Iraqi city of Fallujah in late 2004.
    • 70 Metascore
    • 70 Scott Tobias
    Freaky Friday mines a lot of laughs from common misapprehensions adults have about adolescent life, with fun bits of observation about schoolwork, dating, and other practices where kids have to bend the rules in order to survive.
    • 62 Metascore
    • 70 Scott Tobias
    Though it's still too reliant on a sloppy, gag-a-second style, Stuck On You gets through the arid stretches by leaning on some winning performances, most notably from a hilarious Seymour Cassel.
    • 60 Metascore
    • 70 Scott Tobias
    More than the first Magic Mike, XXL is a loose, shambling party bus—or party organic fro-yo food truck, to be more exact—and everyone’s having a great time. These are entertainment professionals, after all, and the audience is in good hands.
    • 75 Metascore
    • 70 Scott Tobias
    Broken Wings doesn't stray far from the common melodrama in its setup and resolutions, but Bergman's uncommon sensitivity makes the film feel specific, intimate, and utterly plausible at every turn.
    • 61 Metascore
    • 70 Scott Tobias
    The scenes between Cage and Caine are by far the film's most affecting. The two men don't seem to share the same gene pool, which only helps their dynamic.
    • 73 Metascore
    • 70 Scott Tobias
    Knuckleball! looks and feels like a standard ESPN documentary, slickly packaged and a little bloodless, and Stern and Sundberg lean a little heavily on music to goose up the excitement.
    • 67 Metascore
    • 70 Scott Tobias
    For all its pervasive irritations and lack of discipline, succeeds in using below-the-belt tactics to get its message across, especially for those unschooled in the rarified world of oenophilia.
    • 71 Metascore
    • 70 Scott Tobias
    Poking fun at uptight British civility has long been a monocle-shattering comedic staple, and Mrs. Henderson Presents gets by for a while on its genial naughtiness.
    • 67 Metascore
    • 70 Scott Tobias
    Mostly it's just a good yarn, with attractive picture-postcard vistas and an agreeable strain of light humor.
    • 82 Metascore
    • 70 Scott Tobias
    It’s easier to tell the story of a smashing success or an utter failure, because there’s drama inherent to either scenario, but what Hansen-Løve accomplishes with Eden is trickier, a feeling of being adrift in a scene where people are already invited to lose themselves to dance.
    • 70 Metascore
    • 70 Scott Tobias
    While Lenny Cooke’s considerable social and emotional resonance still doesn’t measure up to Hoop Dreams’, the Safdies beautifully evoke the other side of the professional game, the many basketball casualties who don’t get movies made about them.
    • 53 Metascore
    • 70 Scott Tobias
    My Friend Victoria has a specific vibrancy as delicate and understated as Lessing's social critique. It's an accumulation of small moments: telling gazes, sour notes in the dialogue, the persistent impression of a woman who's in a room but never fully present.
    • 55 Metascore
    • 70 Scott Tobias
    Wyatt is a supremely confident filmmaker. His style is multitudes sleeker than Reisz’s original, but his eclectic taste, particularly in the soundtrack, reveals a true connection to the earlier era.
    • 77 Metascore
    • 70 Scott Tobias
    Serves as a fascinating window into an era of radical dissent that now seems centuries past.
    • 55 Metascore
    • 70 Scott Tobias
    When Porn Theatre stays in the darkness, its minute observations about grindhouse culture are hypnotic in their accumulating detail.
    • 82 Metascore
    • 70 Scott Tobias
    Fiennes is the perfect John Le Carré hero: reserved and sophisticated, possessing the driest of wits, yet deceptively passionate in a way that people never really anticipate from him.
    • 51 Metascore
    • 70 Scott Tobias
    If the independent film world were littered with alleged disasters like The Brown Bunny, the scene would be far richer for it.
    • 62 Metascore
    • 70 Scott Tobias
    Though never unpleasant, thanks largely to Cámara and Peña's warmly convincing performances, Torremolinos 73 only really takes off when it deals with the filmmaking process.
    • 71 Metascore
    • 70 Scott Tobias
    If constructing a thriller could be likened to building a house, then Wes Craven's Red Eye is a perfect piece of architecture: It's clean-lined and soundly structured, without a foot of wasted space or any materials left unused.
    • 77 Metascore
    • 70 Scott Tobias
    Locking into the film’s rhythms requires patience and an abandonment of preconceptions, but it’s nonetheless Alonso’s most accessible work to date, buoyed by spare but lush photography and Viggo Mortensen’s magnetic presence in the lead role. It takes a special kind of charisma to bring viewers along on a journey to nowhere.
    • 76 Metascore
    • 70 Scott Tobias
    While In America doesn't convince as an immigrants-in-the-U.S. story, it resonates powerfully as a portrait of grief and reconciliation.
    • 67 Metascore
    • 70 Scott Tobias
    In the end, it feels like a life aestheticized, not examined.
    • 76 Metascore
    • 70 Scott Tobias
    A dense, challenging work by any measure, Japón snakes toward a justly celebrated final shot that's technically astonishing and immensely powerful, cementing the arrival of a promising new talent.
    • 75 Metascore
    • 70 Scott Tobias
    To its enormous credit, doesn't cast the conflict as cut-and-dried exploitation. It presents something altogether more complex--too complex, unfortunately, for an 85-minute documentary to elucidate perfectly.
    • 79 Metascore
    • 70 Scott Tobias
    The film satisfies in much the same way Allen's movie-a-year comedies used to satisfy.
    • 71 Metascore
    • 70 Scott Tobias
    Some of the strongest scenes are candid front-stoop sessions in which the kids swap gossip and float some hilariously pre-sexual theories on romance.
    • 62 Metascore
    • 70 Scott Tobias
    The always-interesting Jane, a volatile and unpredictable character actor, fits the bill.
    • 43 Metascore
    • 70 Scott Tobias
    For most of the way, the film is perceptive about the hot-and-cold volatility of wounded relationships, when couples are struggling to communicate yet familiar enough to exploit each other's weaknesses.
    • 51 Metascore
    • 70 Scott Tobias
    There are strong ideas at play in Noé's undeniably audacious and technically stunning second feature, which goes as far as any film can in revealing the breakdown of order and the deterioration of the rational mind.
    • 48 Metascore
    • 70 Scott Tobias
    McCarthy’s voice comes through strongly enough to excuse the film’s excesses and cast its more generic plot elements in a new light.
    • 85 Metascore
    • 70 Scott Tobias
    Brilliant in flashes, thinned out as a whole, the film seems ideal for the DVD revolution, where the greatest hits can be compiled at the touch of a remote.
    • 75 Metascore
    • 70 Scott Tobias
    The question of whether Maier, a recluse, would have ever wanted someone like Maloof to bring her into the light is troubling, and perhaps impossible to resolve, but Maloof’s passion for her work and his boundless curiosity about her history certainly make for a riveting documentary.
    • 55 Metascore
    • 70 Scott Tobias
    Provides enough happy endings to make the audience forget that romance and Christmas miracles don't always work out.
    • 81 Metascore
    • 70 Scott Tobias
    As director Dominique Benicheti invites the audience to contemplate this way of life—and that’s all the film seeks to accomplish, which is plenty—he reveals the virtues of simplicity, routine, and quietly communing with the natural world.
    • 55 Metascore
    • 70 Scott Tobias
    Cobbled together from borrowed parts, Jean-Claude Brisseau's Secret Things makes a fearsome Frankenstein monster out of other movies, yet the influences are so thoroughly digested that they come out seeming wholly original.
    • 66 Metascore
    • 70 Scott Tobias
    Caetano's blunt, deterministic ending underlines the point too neatly, but in dignifying an outcast whose life is treated as anonymous and disposable, he puts a human face on a national tragedy.
    • 79 Metascore
    • 70 Scott Tobias
    The Rwandan genocide was one of the most shameful marks on Bill Clinton's presidency, but for all the film's powerful images, George stops short of the forceful political statement that Rusesabagina's story demands.
    • 76 Metascore
    • 70 Scott Tobias
    Every part of Wojtowicz’s story is touched by madness, though The Dog doesn’t miss the depression and tragedy that lingers around it.
    • 70 Metascore
    • 70 Scott Tobias
    For the soldiers, it's about living to see the next day and living with the things they see, and Gunner Palace honors their perspective like no other Iraq documentary has to date.
    • 82 Metascore
    • 70 Scott Tobias
    Even in its rougher patches, The Spectacular Now has a disarming earnestness that keeps it on the level, helped along by two superb lead performances that add up to more than their sum.
    • 48 Metascore
    • 70 Scott Tobias
    Kutcher and Peet are a low-wattage pair, with little of the verbal riffing that counts as seduction in most romantic comedies, but they have real chemistry together, and A Lot Like Love happily indulges their silly, juvenile one-upmanship.
    • 63 Metascore
    • 70 Scott Tobias
    Ozon tosses an abundance of twisted psychology into the stew, but he leaves the audience to sort it out for themselves. Young & Beautiful has the detached air of other Ozon productions, and Vacth gives so little away as Isabelle that she’s eternally an unsolved problem.
    • 61 Metascore
    • 70 Scott Tobias
    Seidl could not be clearer in his associations between religion and sex, but in Paradise: Faith, he’s slightly less successful in mining them for greater insights.
    • 66 Metascore
    • 70 Scott Tobias
    It's only human to feel gripped, enraged, and even moved by the events depicted in Innocent Voices, a true account of one boy's experience in the crossfire of El Salvador's long, bloody civil war.
    • 68 Metascore
    • 70 Scott Tobias
    The vibrant rap drama Hustle & Flow wraps the authentic around the inauthentic, telling an underdog story that sticks to formula, yet resonates with an undeniably real energy and texture.
    • 47 Metascore
    • 70 Scott Tobias
    Shows an unusual degree of generosity toward all its characters, and its tenderness yields some affecting moments, even if they don't ring entirely true.
    • 73 Metascore
    • 70 Scott Tobias
    The constant in The Imitation Game is Benedict Cumberbatch’s terrific performance as Turing, which has much in common with his delightfully mercurial Sherlock Holmes, but with an underpinning of repressed emotion and quiet despair.
    • 69 Metascore
    • 70 Scott Tobias
    Funny and endearing.
    • 63 Metascore
    • 70 Scott Tobias
    Comparisons to "Taxi Driver" are unavoidable and mostly unflattering to Mueller's film, but Assassination engages more directly with the political fissures of the time, which deeply divided the nation.
    • 69 Metascore
    • 70 Scott Tobias
    The mimicry is so pronounced that it’s hard to locate a distinct, original sensibility beyond the film’s apparent influences. But talented young directors often need time to develop into singular ones, and there’s value in Coppola’s sensual, always-sympathetic feel for lost adolescents.
    • 64 Metascore
    • 70 Scott Tobias
    May be Assayas' airiest work to date, an intriguing trifle that leaves its considerable pleasures to lounge around on the surface.
    • 64 Metascore
    • 70 Scott Tobias
    LaGravenese lets real-life messiness keep it off a straight track, coming up with an unexpected and touching portrait of platonic friendship.
    • 66 Metascore
    • 70 Scott Tobias
    The film lacks the discipline to stay on point all the time, but Fey and director Mark S. Waters (Freaky Friday) have fun with offbeat throwaway touches.
    • 74 Metascore
    • 70 Scott Tobias
    While Creep has the limited scope of DIY filmmaking at its most rudimentary, that contributes to a tone that’s unusually playful and entertaining without coming off as a lark.
    • 82 Metascore
    • 70 Scott Tobias
    The cheetah is the star in Duma, and no one directs animals more convincingly than Ballard, who knows better than anyone how to integrate patchwork nature shots into narrative action. Too bad the two-legged talking animals aren't as compelling this time out.
    • 62 Metascore
    • 70 Scott Tobias
    Leitman gets some wonderful tall tales from her subjects, who open up like they've been waiting for years for someone to come along and ask, and she complements it with punishing footage of their exploits.
    • 73 Metascore
    • 70 Scott Tobias
    Only half a great movie, because the other half follows a separate but related thread that isn't nearly as compelling.
    • 48 Metascore
    • 70 Scott Tobias
    With no greater ambition than reworking the Police Academy movies, Broken Lizard comes up with a winning formula: one part laughs to two parts goodwill.
    • 86 Metascore
    • 70 Scott Tobias
    Though it has the dramatic apparatus of fiction, the film unfolds with a documentary-like openness to the world around it.
    • 63 Metascore
    • 70 Scott Tobias
    Based on true events, À Tout De Suite reveals the seductions of criminal life to be something like Stockholm Syndrome for Le Besco.
    • 86 Metascore
    • 70 Scott Tobias
    Ends with horrific revelations that are made all the more powerful by the lightness that precedes them. Simultaneously sad and hopeful, Ghobadi suggests the resiliency of a culture in which war is part of the fabric of everyday life.
    • 67 Metascore
    • 70 Scott Tobias
    The grace notes in Dujardin’s performance are an important booster for The Connection, which conspicuously lacks the grit and flavor of William Friedkin’s tangentially related The French Connection, and at worst unfolds like Scorsese-lite.
    • 83 Metascore
    • 70 Scott Tobias
    The film might have been more powerful, not to mention fair, if the nuns believed they were doing right; only on movie night, when McEwan sees herself in Ingrid Bergman in "The Bells Of St. Mary's," does Mullan grant her so much as the delusion of rectitude.
    • 61 Metascore
    • 70 Scott Tobias
    At once predatory and vulnerable, Jung has a primitive intensity that speaks louder than words, carrying an enigmatic and often maddeningly elusive film that's short on dialogue, rational behavior, and narrative logic.
    • 64 Metascore
    • 70 Scott Tobias
    Though it doesn't rise above the cut-and-paste aesthetic of other making-of documentaries, The Siberian Mammoth assembles many members of the disparate Cuban cast and crew, and unearths some rare production photos and footage.
    • 61 Metascore
    • 70 Scott Tobias
    It's not often that good movies have a hole in the center, but Nina's Tragedies labors admirably to develop the strong feelings of longing and heartbreak that unite its damaged souls, however briefly.

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