For 1,698 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 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Adaptation.
Lowest review score: 0 Officer Downe
Score distribution:
1698 movie reviews
    • 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.
    • 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.
    • 79 Metascore
    • 70 Scott Tobias
    Under his (McElwee's) watch, the possibilities of a documentary seem to expand by the minute, incorporating not only journalistic truths, but also personal insights and philosophy, unique regional textures, and unexposed pockets of humanity.
    • 70 Metascore
    • 70 Scott Tobias
    When it steers away from campaign-ad testimonials and considers Kerry's moral awakening in Vietnam and beyond, Going Upriver features some tremendously powerful scenes.
    • 73 Metascore
    • 70 Scott Tobias
    Sumptuously photographed in bright primary colors, with equally immaculate period clothing and design, Untold Scandal lacks some of the emotional and thematic depth of previous adaptations, but it has the refreshing candor and explicitness that marks the current wave of Korean cinema.
    • 79 Metascore
    • 70 Scott Tobias
    For a film about man who spent half his life defying staid convention, Kinsey remains as timid as a choirboy.
    • 69 Metascore
    • 70 Scott Tobias
    Makes up in action what it lacks in storytelling finesse.
    • 62 Metascore
    • 70 Scott Tobias
    Even when caught in a rut, Anderson's obsessive vision still yields many exhilarating surprises.
    • 48 Metascore
    • 70 Scott Tobias
    Though Brooks has a broad, crowd-pleasing sensibility, he knows how to appeal to the masses without insulting anyone's intelligence, and that's a rare gift these days.
    • 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.
    • 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.
    • 64 Metascore
    • 70 Scott Tobias
    Inside Deep Throat starts small and keeps expanding outward until there's seemingly no facet of American life the phenomenon hasn't touched.
    • 49 Metascore
    • 70 Scott Tobias
    The film works best as a passionate tale of obsessive love, with two people brought together under harrowing circumstances.
    • 58 Metascore
    • 70 Scott Tobias
    Within its limited scope, the film celebrates Conti's peculiar dreams and earnest intensity without dipping into condescension.
    • 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.
    • 66 Metascore
    • 70 Scott Tobias
    Mordantly funny deadpan comedy.
    • 59 Metascore
    • 70 Scott Tobias
    The film's modest charms are ingratiating and sweet, thanks to Colm Meaney's hilariously salty lead performance and a soundtrack that channels the warm spirit of traditional Ceili music.
    • 68 Metascore
    • 70 Scott Tobias
    Off The Map feels peculiar and remote, strangled by an air of arty disengagement. The most vivid characters are the earth and the sky, and they both give stellar performances.
    • 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.
    • 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.
    • 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.
    • 79 Metascore
    • 70 Scott Tobias
    The film satisfies in much the same way Allen's movie-a-year comedies used to satisfy.
    • 62 Metascore
    • 70 Scott Tobias
    Made with an intelligence and craft that's increasingly rare in Hollywood thrillers.
    • 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.
    • 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.
    • 54 Metascore
    • 70 Scott Tobias
    Miike doesn't do enough to shake up the formula, but he's still expert at delivering shocks, and when the level of craftsmanship is as high as it is in the white-knuckle finale, originality doesn't seem to matter anymore.
    • 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.
    • 78 Metascore
    • 70 Scott Tobias
    Like a lot of scenes in Funny Ha Ha, the commonplace somehow seems invigoratingly original.
    • 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.
    • 76 Metascore
    • 70 Scott Tobias
    A movie so nice she made it twice, Susanne Bier's Dogme-certified feature "Open Hearts" gets a slight makeover in her follow-up Brothers, another raw melodrama about three lives recalibrated by sudden tragedy.
    • 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.
    • 84 Metascore
    • 70 Scott Tobias
    Though frequently dazzling, Kings And Queen proves that a bunch of punchy singles don't necessarily make an album.
    • 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.
    • 67 Metascore
    • 70 Scott Tobias
    The kids are great, but when they graduate from Rock School, will the valedictorian be the next Jimmy Page, or the technically proficient lead guitarist of a Led Zeppelin cover band?
    • 73 Metascore
    • 70 Scott Tobias
    In an unfortunate case of star casting, Cruise strains credibility as a hard-edged Jersey dockworker.
    • 70 Metascore
    • 70 Scott Tobias
    Perhaps because the trial hits so many delays and roadblocks, Twist Of Faith doesn't gather much dramatic momentum, though there's something to be said for the emotional grind of running in place.
    • 72 Metascore
    • 70 Scott Tobias
    There's little wrong with Charlie, but it needs the Burton of old to animate its candy-colored universe with mischief and awe. Instead, he remains trapped like Wonka in a hermetic house of wonders, and the movie suffocates along with him.
    • 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.
    • 67 Metascore
    • 70 Scott Tobias
    In the end, it feels like a life aestheticized, not examined.
    • 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.
    • 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.
    • 68 Metascore
    • 70 Scott Tobias
    As it progresses from black comedy to something approaching surreal horror, El Crimen Perfecto swells into a nightmare reminiscent of Griffin Dunne's journey through Soho hell in "After Hours."
    • 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.
    • 56 Metascore
    • 70 Scott Tobias
    Chucks the laws of logic and physics out the passenger's-side window, and it's all the better for it.
    • 79 Metascore
    • 70 Scott Tobias
    Throughout Keane, there's an unnerving feeling that Lewis is capable of anything, from harming himself to assaulting anyone around him.
    • 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.
    • 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.
    • 66 Metascore
    • 70 Scott Tobias
    A powerful documentary about a squad of Army grunts patrolling the Iraqi city of Fallujah in late 2004.
    • 50 Metascore
    • 70 Scott Tobias
    For all its swaggering bravado, Pacino's turn in Two For The Money is the reverse image of his "Devil's Advocate" character: Instead of the omniscient, all-powerful operator he presents himself as, he's a gambler grasping at a lifestyle that's always just beyond his means.
    • 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.
    • 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.
    • 66 Metascore
    • 70 Scott Tobias
    Few directors are as "extreme" as Miike, but ironically, his entry in Three... Extremes is the least explicit; its suggestive tale of envy and guilt resembles Edgar Allen Poe's "The Tell-Tale Heart" more than Miike's usual six-per-year gorefests.
    • 58 Metascore
    • 70 Scott Tobias
    Screenwriter William Broyles, Jr., a former Vietnam pilot and "Newsweek" editor, connects reasonably well with the material, but "American Beauty" director Sam Mendes has a tendency to smooth out the rough edges, and the film goes flat as month-old soda.
    • 63 Metascore
    • 70 Scott Tobias
    Though Silverman's edginess never quite crosses into social consequence, she's a brilliant craftswoman on stage, blessed with crack timing and an ability to massage each line to maximum effect.
    • 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.
    • 77 Metascore
    • 70 Scott Tobias
    Jones directs with all the grit that's associated with his onscreen persona, but Peckinpah would never allow this degree of sentimentality to slip into one of his Westerns. A better comparison might be to Clint Eastwood, another tough-guy actor whose work as a director is often a little soft at the center.
    • 46 Metascore
    • 70 Scott Tobias
    If anything, The Ringer doesn't go far enough to exploit its edgy premise, but it does have two conceits that consistently pay off: Knoxville turns out to be a lesser athlete than his competitors, and he's so bad at acting "retarded" that only the unchallenged buy into his ruse.
    • 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.
    • tbd Metascore
    • 70 Scott Tobias
    Adapting Alonso Cueto’s novel “La pasajera,” del Solar turns the screws on the audience expertly, but the thriller elements never distract from the moral crisis of a man — and a country — whose decades-old mistakes cling to him like a tattoo.
    • 75 Metascore
    • 70 Scott Tobias
    Short of putting Emmanuel Lubezki through astronaut training, it’s difficult to imagine more rapturously beautiful images of the Earth from orbit than those supplied by A Beautiful Planet, the latest collaboration between Imax and NASA.
    • tbd Metascore
    • 70 Scott Tobias
    Baxter packs the film with sound insights on masculinity and young adulthood, as well as the hand-to-mouth realities of black-market farming.
    • 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.
    • 51 Metascore
    • 70 Scott Tobias
    Their friendship in Due Date is hard-won, and the audience is right there with them.
    • 55 Metascore
    • 70 Scott Tobias
    There's something pure about the crude pleasures of Hobo with a Shotgun, a pre-fab cult film that aspires to nothing more (or less) than the red-meat feeding of a feral midnight-movie audience.
    • 64 Metascore
    • 70 Scott Tobias
    Scott has made an art - or at least a career - out of playing the affable dimwit. And with Goon, a salty Canadian comedy about the rise of a minor league hockey enforcer, Scott finally has his Hamlet, a role that calls for every blank, uncomprehending look in his toolbox while accessing the cuddly puppy within.
    • 58 Metascore
    • 70 Scott Tobias
    Sonnenfeld's best movies function like elaborate Rube Goldberg contraptions, with visual gags popping out on a precise calibration of gears and springs, and Cohen's script, however derivative, is a stable apparatus.
    • 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
    Posey dominates Price Check, mostly for the better: Whatever observations Walker's film makes about the perils of ambition or women in the workplace register entirely through her. She's simply funnier and more interesting than anyone else, and Walker has written her a complex character whose immediate wants are clearer than her long-term ones.
    • 59 Metascore
    • 70 Scott Tobias
    Calling it a mess would be both accurate and pointless, because a tidier comedy would squeeze the life out of this vital, generous blob of a film.
    • 60 Metascore
    • 70 Scott Tobias
    As a buddy-cop movie, The Heat seems almost deliberately generic, with boilerplate plotting carried across with zero panache. It wagers that McCarthy and Bullock’s comic energy will make all the difference—a smart bet, as it happens.
    • 67 Metascore
    • 70 Scott Tobias
    Even with shaggy, semi-improvised projects like Crystal Fairy, there’s a need for some kind of conclusion, and Silva devises one that’s simultaneously terribly contrived and by far the most powerful scene in the movie.
    • 58 Metascore
    • 70 Scott Tobias
    I Declare War holds off as long as it can before dumping its emotional payload. Until then, the film gets uncomfortable laughs from the games children play, and play for keeps.
    • 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.
    • 73 Metascore
    • 70 Scott Tobias
    The irony of Prince Avalanche is that its most conventional elements, the ones that wouldn’t be out of place in a Hollywood buddy comedy, are by far its most satisfying. It’s only when Green reaches for the old poetry that the film seems excessively precious and out of balance.
    • 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.
    • 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.
    • 75 Metascore
    • 70 Scott Tobias
    This is grave business, and After Tiller registers the weight of it.
    • 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.
    • 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.
    • 86 Metascore
    • 70 Scott Tobias
    Little beyond Servillo’s presence gives the film any ballast, which is both asset and liability, freeing Sorrentino to pepper the screen with wild setpieces and fits of inspiration while encouraging a certain shapelessness.
    • 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.
    • 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.
    • 70 Metascore
    • 70 Scott Tobias
    Dekker knows who she is, what she wants to do, and how to get it done, and Maidentrip wisely sails off the tailwinds of her confidence and boundless curiosity.
    • 77 Metascore
    • 70 Scott Tobias
    Through it all, Gheorghiu finds the perfect pitch between a mother’s love for her child and a kind of pathology.
    • 63 Metascore
    • 70 Scott Tobias
    The film advances some harsh truths about the spoils of money-grubbing savagery. But Cheap Thrills doesn’t take a scolding tone: These lessons come in the form of a rowdy, midnight-movie entertainment that keeps its considerable ambition under wraps.
    • 75 Metascore
    • 70 Scott Tobias
    ts small achievement is in trying to understand the life-and-death choices of two people who aren’t as certain about what they’re doing as they initially appear.
    • 64 Metascore
    • 70 Scott Tobias
    Matt Wolf’s innovative documentary is a bracing reminder that the notion of adolescence as distinct from childhood and adulthood is a relatively modern phenomenon.
    • 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.
    • 70 Metascore
    • 70 Scott Tobias
    Arriving in the middle of Phase Two of the Marvel Cinematic Universe, The Winter Soldier is among the best of the nine films released so far—roughly on par with the first Iron Man and The Avengers—but if the film has one major flaw, it’s the obligation to serve a larger franchise that keeps taking on weight.
    • 55 Metascore
    • 70 Scott Tobias
    Shepard’s image de-habilitation on Law smacks of gimmickry—and the world has no immediate need for another vulgar British crime picture—but the actor seems invigorated by the change, and the film matches his robustness to a fault.
    • 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.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 70 Scott Tobias
    22 Jump Street squeezes every last drop of comic inspiration it can get from Tatum and Hill, as well as the very notion of a sequel to such a superfluous enterprise.
    • 81 Metascore
    • 70 Scott Tobias
    The two halves of Closed Curtain complement each other, but the first is more compelling than the second, partly because the mysteries of construction trump the grind of deconstruction, and partly because Panahi channeled his anguish more directly and affectingly with This Is Not A Film.
    • 56 Metascore
    • 70 Scott Tobias
    Park’s pristine framing and yen for extreme violence give Sympathy For Mr. Vengeance the pop of a graphic novel, but there are times when his point about the poisonous nature of revenge is eclipsed by stylized torture and sadism for its own sake.
    • 80 Metascore
    • 70 Scott Tobias
    A beautiful, mysterious, beguiling cinematic doodle, and an absolute master class in mise-en-scène, unfolding in odd, fragmented frames and precisely choreographed movement within those frames.
    • 59 Metascore
    • 70 Scott Tobias
    At a time when the once-dominant romantic comedy is an endangered species, What If proves the formulas can still work, under the right circumstances, and without really needing to tweak the recipe much.
    • 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.
    • 77 Metascore
    • 70 Scott Tobias
    Abuse Of Weakness is the director’s attempt to account for actions that seem inexplicable, and make the audience understand and sympathize in kind.
    • 77 Metascore
    • 70 Scott Tobias
    Daniel Dencik’s unusual documentary Expedition To The End Of The World sounds like a grand seafaring adventure, as expeditions to untraversed Arctic territory tend to be, but its tone is much more philosophical.
    • 77 Metascore
    • 70 Scott Tobias
    German director David Wnendt and his co-writer, Claus Falkenberg, are determined to package one teenager’s unhygienic coming-of-age into a slick, funny, accessible romantic comedy. They mostly pull it off.
    • 76 Metascore
    • 70 Scott Tobias
    There’s a scolding tone to Nightcrawler that runs counter to its pulp energy, as if Gilroy is telling the audience to be alarmed by the things that turn them on. But much as Gilroy tries to be his own killjoy, Gyllenhaal’s wickedness prevails.
    • 74 Metascore
    • 70 Scott Tobias
    Rondón treats her characters with toughness and empathy, without devising easy outs or slipping into sentimentality.
    • 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.
    • 76 Metascore
    • 70 Scott Tobias
    Cheryl is a thoroughly realized, warts-and-all character, and the flashbacks contribute to that. But like their heroine, the filmmakers do some fumbling to get to their destination.
    • 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.
    • 73 Metascore
    • 70 Scott Tobias
    To her credit, Hamilton lays out their story cleanly and with no small amount of tension, all while drawing strong connections to Watergate, the Pentagon Papers, and the Edward Snowden case.
    • 56 Metascore
    • 70 Scott Tobias
    Smith and Robbie have great chemistry together, and neither of them try too hard to complicate their fun, sexy partnership.
    • 68 Metascore
    • 70 Scott Tobias
    The Zellners are tapping into the allure of movies, that fundamental desire we have to escape our humdrum lives and give ourselves over to the more exciting ones playing out onscreen.
    • 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.
    • 71 Metascore
    • 70 Scott Tobias
    With Depardieu’s intensely physical performance at its core, Welcome To New York achieves a level of intimacy that’s rare for films about public figures—and, in this case, exposes Strauss-Kahn for all to see.
    • 82 Metascore
    • 70 Scott Tobias
    Though Rebels Of The Neon God is missing the austerity and discipline that would make Tsai’s master-shot style so effective—and funny—its relatively conventional approach (including a recurring musical theme!) doesn’t obscure the beautiful, enigmatic tone that’s long set him apart.
    • 66 Metascore
    • 70 Scott Tobias
    Photographed in muted interiors and under perpetually cloudy skies, Félix And Meira has the somber tone of a romance couched in painful sacrifice, but there’s also sweetness and joy in Meira slowly emerging from her shell.
    • 79 Metascore
    • 70 Scott Tobias
    Don’t Think I’ve Forgotten could stand to be a tighter, punchier assemblage of music and talking heads, but Pirozzi has gathered an impressive array of surviving musicians and family members willing to talk about the targeting of artists for propaganda and death.
    • 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.
    • 73 Metascore
    • 70 Scott Tobias
    Despite a too-neat resolution, the characters in Results haven’t figured themselves out, much less their relationships, and Bujalski is perfectly comfortable sorting through their confusion.
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 70 Scott Tobias
    The Sure Thing is queasily old-fashioned, a raunchy road trip without the raunch that nonetheless trades on sex-comedy stereotypes: party animals in Hawaiian shirts, tea-sipping no-fun-niks in neutral-colored sweaters, and a compliant blonde sex doll that is, in fact, a sure thing. The film takes baby steps to something better.
    • 80 Metascore
    • 67 Scott Tobias
    Concerns feelings that can't be expressed, relationships that can't flower, and connections that are impossible to bridge.
    • 46 Metascore
    • 67 Scott Tobias
    It's an extremely cynical perspective, enforced by some disappointingly turgid melodrama, but keep in mind, this movie was made before an almost uniformly poor and black population was left to rot in New Orleans floodwaters. Even at his worst, von Trier can still strike a nerve.
    • 61 Metascore
    • 67 Scott Tobias
    It's more about giving rich bullies the same comeuppance afforded to sneering wardens with bullwhips, and on those superficial grounds, it's reasonably gripping.
    • 62 Metascore
    • 67 Scott Tobias
    Against all reason, this workingman's journey across the sea winds up seeming every bit as inspirational as the filmmakers intended, entirely because Mullan's grit validates every cornpone emotion. With a lesser actor, the movie would sink like a stone.
    • 53 Metascore
    • 67 Scott Tobias
    How much viewers care about what happens in Goal! is directly proportionate to how much they care about soccer, because decent execution aside, there's an underdog fantasy movie just like this one for every sport.
    • 70 Metascore
    • 67 Scott Tobias
    Morel tries to keep the energy up for 85 minutes straight, but the film never manages to top itself, and in spite of the political overtones, it doesn't provide much thematic sustenance.
    • 67 Metascore
    • 67 Scott Tobias
    Once In A Lifetime is less a proper documentary than an extended VH1 Behind The Music episode, but there's only a little bit wrong with that.
    • 67 Metascore
    • 67 Scott Tobias
    Ozon's disappointing new film Time To Leave is his "The Flower Of My Secret," a Douglas Sirk-inspired weepie about a terminal cancer victim making amends, but it's a little too sentimental and square even by his recent standards.
    • 67 Metascore
    • 67 Scott Tobias
    Brothers isn't nearly as haunting and singular as "Last Days," because the faux-documentary format too closely mirrors the Behind The Music trajectory of a thousand other rock-band flameouts.
    • 68 Metascore
    • 67 Scott Tobias
    The results are reasonably clever and impeccably executed, but one of these days, Burger is going to have to pull more from his hat than just the rabbit.
    • 71 Metascore
    • 67 Scott Tobias
    In the end, the film belongs to Baye, a veteran French actress who handles the part with toughness and vulnerability without overselling either facet of her character.
    • 52 Metascore
    • 67 Scott Tobias
    None of their stories are particularly resonant, but the film is really about a grand social experiment gone right, and it succeeds well enough on that front, even while it isn't that convincing in the particulars.
    • 67 Metascore
    • 67 Scott Tobias
    The film feels like an earnest retread over old territory, albeit one that intermittently comes to life thanks to an amazing cast, expressive cinematography by French master Eric Gautier (Irma Vep), and Montiel's obviously heartfelt sentiments.
    • 45 Metascore
    • 67 Scott Tobias
    While The Marine proves a poor showcase for the charisma-impaired Cena, it's a terrific vehicle for world-class heavy Patrick, who is clearly enjoying himself as the kind of deranged lunatic who interrupts a long string of felonies to confirm the details of his new cable package.
    • 79 Metascore
    • 67 Scott Tobias
    What begins as a sophisticated meditation on the meaning of heroism gradually slumps into leaden repetition in the second half, as the point gets watered down and belabored. After such provocative beginnings, the film finally, dutifully raises its hand in salute.
    • 57 Metascore
    • 67 Scott Tobias
    Give Flicka credit for one thing: It stays on message. Set against the gorgeous backdrop of a Wyoming mountain range--a view this time unobstructed by the gay cowboys who so alarm family audiences--the film offers up fantasy footage for every strong-willed girl who ever straddled a saddle, and little more.
    • 66 Metascore
    • 67 Scott Tobias
    For all its surface dazzle, The Prestige shares with this year's earlier "The Illusionist" a certain core hollowness. Maybe that's a natural consequence of even the best magic shows: You can't help but feel duped.
    • 50 Metascore
    • 67 Scott Tobias
    Fur is that rare movie that's TOO understated, so quiet and deliberate that it effectively buries consuming passions.
    • 64 Metascore
    • 67 Scott Tobias
    Less a movie than a political act, Fast Food Nation aims to disseminate its counter-propaganda to the widest possible audience, which is the only plausible reason why the book has been shoehorned into a narrative instead of a documentary.
    • 55 Metascore
    • 67 Scott Tobias
    From the looks of it, a good 90 percent of The D's creative juices were expended on The Pick Of Destiny's brilliant opening sequence.
    • 69 Metascore
    • 67 Scott Tobias
    While the film remains intelligent and transporting, a gorgeous travelogue into another time and place, it nonetheless feels like it's going through the motions, applying period gloss to a story that needs to be more tactile.
    • 70 Metascore
    • 67 Scott Tobias
    Few filmmakers could produce so grand a spectacle, but Zhang used to be good for more than just eye candy.
    • 72 Metascore
    • 67 Scott Tobias
    It's convincing as everything but a piece of good filmmaking.
    • 43 Metascore
    • 67 Scott Tobias
    Take away the death and revelations that follow, and Catch And Release has the makings of a weekly half-hour network comedy--call it "Four's Company."
    • 55 Metascore
    • 67 Scott Tobias
    Too odd for a studio movie, too cornpone for the independent scene, The Astronaut Farmer finds its creators stuck awkwardly between worlds, making what amounts to a deep curiosity.
    • 49 Metascore
    • 67 Scott Tobias
    Though hampered at times by Rock's limitations as an actor and a director, I Think I Love My Wife stays faithful to the spirit of Rohmer's original, grappling honestly with the uncertainties of settling down and the temptations that lurk outside even the most stable marriages.
    • 61 Metascore
    • 67 Scott Tobias
    At its heart a simple story about friendship and loss, carried over with enough genuine feeling to excuse its uncertain footing.
    • 54 Metascore
    • 67 Scott Tobias
    Making an assured transition to Hollywood after his Hungarian cult sensation "Kontroll," director Nimród Antal gets his business done with an efficiency that recalls "Red Eye," another thriller that clocks in under 90 minutes. But efficiency isn't everything, and Antal sacrifices too much in order to sustain tension.
    • 78 Metascore
    • 67 Scott Tobias
    The film ends so beautifully that it's easy to forgive the dead passages that preceded it and hope it carries over into his next movie.
    • 67 Metascore
    • 67 Scott Tobias
    Once again, Dumont cycles through the pet themes of films like "L'Humanité" and "Twentynine Palms," but their repetition is beginning to seem like shtick.
    • 71 Metascore
    • 67 Scott Tobias
    The Boss Of It All, though clever as a piece of genre deconstruction, isn't terribly funny.
    • 57 Metascore
    • 67 Scott Tobias
    Without Kaurismäki to introduce these lonely, forgotten souls to audiences, who's going to be his friend?
    • 53 Metascore
    • 67 Scott Tobias
    Once the rote mystery elements take over, the film devolves into a second-rate whodunit for kids, but even then, Roberts' irrepressible cheeriness and curiosity in the face of danger proves too adorable to resist.
    • 71 Metascore
    • 67 Scott Tobias
    Save for the thrilling opening sequence, there's not much to remember about the film beyond Staunton (Vera Drake), who masks her bottomless malevolence behind a pasted-on patrician smile.
    • 67 Metascore
    • 67 Scott Tobias
    The men are fuzzily defined and the film feels incomplete. The devil may be in the details, but for the first time, Anderson's obsession with them has caused him to lose sight of the bigger picture.
    • 53 Metascore
    • 67 Scott Tobias
    Which is more interesting: Vampires fighting over the potential long-term blowback of their Alaskan buffet, or a couple of exes bonding under duress? Seems like an easy decision, but 30 Days Of Night makes the wrong choice.
    • 58 Metascore
    • 67 Scott Tobias
    These may be the qualities of a great man, but they're not exactly the stuff of a great documentary subject, especially given how hard Carter works to defuse the emotions stirred up by his book.
    • 57 Metascore
    • 67 Scott Tobias
    It's a brilliant concept for a horror movie, not least because the genre is usually so dedicated to male gratification, but the material requires a consistent tone, and first-time director Lichtenstein (son of pop artist Roy) can't quite get a handle on it.
    • 68 Metascore
    • 67 Scott Tobias
    There are precisely zero surprises in how things play out--the main thread is basically "Big Night" revisited--but the film gets better as it goes along, and it closes with a rousing musical flourish, as immensely charismatic newcomer Clark Jr. finally hits the stage. At last, Sayles' sleepy drama wakes with a start.
    • 63 Metascore
    • 67 Scott Tobias
    Walk Hard offers a quantity of laughs that few comedies could match, yet it's likely to leave viewers vaguely unsatisfied, particularly when the closing minutes completely run out of steam. That's the danger of spoofs: You're only as good as your last laugh.
    • 67 Metascore
    • 67 Scott Tobias
    In spite of strong performances and a characteristically vivid sense of place, the film feels disjointed and heavy.
    • 47 Metascore
    • 67 Scott Tobias
    Boarding Gate's surfaces are often so staggeringly beautiful that its superficiality becomes forgivable, with the pleasant distractions of Assayas' multi-layered frames, Argento's sinewy allure, and snippets of Brian Eno ambience on the soundtrack. Why can't all movies this inane be this accomplished?
    • 55 Metascore
    • 67 Scott Tobias
    Much like "Crank," it's the guiltiest of guilty pleasures.
    • 65 Metascore
    • 67 Scott Tobias
    The biggest problem with Crystal Skull is one that's lately plagued Spielberg in otherwise excellent films like "Munich" and "War Of The Worlds": He fails to stick the landing. And for an entertainment with nothing much on its mind, that hurts.
    • 51 Metascore
    • 67 Scott Tobias
    Savage Grace should have the force of Greek tragedy, but Kalin's chamber drama feels curiously stifling and flat, and Moore's volatile turn isn't enough to quicken its pulse.
    • 59 Metascore
    • 67 Scott Tobias
    Comes from a pure place. Or rather, it comes from a DESIRE for a pure place in a game poisoned by mercenary compromise.
    • 64 Metascore
    • 67 Scott Tobias
    As with many other mediocre actor-directors, Harris' attention to the performances, including his own fine turn, has cost him in other areas.
    • 51 Metascore
    • 67 Scott Tobias
    In a series elevated by high-flying ridiculousness, Transporter 3 falls a couple of sequences short of the standard, but it does show off Statham's considerable dirt-biking skills. For that, at least, it's kinda rad.
    • 64 Metascore
    • 67 Scott Tobias
    A canny piece of autobiography that looks at the man behind the legend and the legend behind the man.
    • 84 Metascore
    • 67 Scott Tobias
    It's a little disappointing to see Van Sant dial back into mainstream respectability. Had he evoked Harvey Milk's life with the poetry that he did Kurt Cobain's, Milk might have been something special.
    • 64 Metascore
    • 67 Scott Tobias
    Though solidly plotted and executed all around, the film, too, feels like a quaint relic from another era, aping the form of journalistic thrillers like "All The President’s Men" while missing much of their urgency.
    • 70 Metascore
    • 67 Scott Tobias
    What saves I Love You, Man, at least partially, is the relaxed chemistry between Paul Rudd and Jason Segel, both very funny men who are genuine enough to push back against a premise that's often maddeningly artificial.
    • 56 Metascore
    • 67 Scott Tobias
    What's most striking about Eleven Minutes is the sheer amount of effort that goes into a show of that magnitude, quite apart from work involved in designing and executing a coherent, commercially viable line.
    • 77 Metascore
    • 67 Scott Tobias
    Fukunaga paints better outside the lines, working with cinematographer Adriano Goldman to offer vivid shots of the poverty and despair cutting through Latin America, of gang rituals and territorial skirmishes, and of ordinary people taking dangerous routes to a better life that may be a mirage. Next time, a few rewrites please.
    • 54 Metascore
    • 67 Scott Tobias
    Something of a cross between the formalist whimsy of Wes Anderson and the God's-lonely-man psychosis of "Taxi Driver," the film breaks all the rules, but the tonal schizophrenia that results isn't an accident.
    • 72 Metascore
    • 67 Scott Tobias
    On the nature-documentary continuum, Earth falls closer to the cuddly anthropomorphism of "March Of The Penguins" than the cold rationality of "Grizzly Man."
    • 81 Metascore
    • 67 Scott Tobias
    Through Sorrentino's lens, Andreotti's chief lieutenants are made to look like Reservoir Dogs, with Andreotti as a calm, tight-lipped, upper-crust analog to Lawrence Tierney.
    • 76 Metascore
    • 67 Scott Tobias
    It goes down smoothly, thanks in large part to Joseph Gordon-Levitt's grounded lead performance and Marc Webb's slick direction, but it seems like every other scene coughs up a dispiriting cliché.
    • 61 Metascore
    • 67 Scott Tobias
    The concept doesn't go much further than the wardrobe department--that is, until a deliriously over-the-top climax finally rouses the film from its "Evil Dead"-mimicking stupor.
    • 45 Metascore
    • 67 Scott Tobias
    Though Clarkson acquits herself reasonably well in a terribly conceived role, her entrance interrupts David’s hilariously twisted mentorship of Wood and sends the movie careening in a far less promising direction.
    • 64 Metascore
    • 67 Scott Tobias
    Aas grim as The Road gets, Hillcoat goes a little soft at the wrong time. Someone like Michael Haneke would have no trouble embracing this material’s uncompromising dreariness.
    • 63 Metascore
    • 67 Scott Tobias
    Even if you know what’s coming, it’s a neat bit of meta-thriller filmmaking, as much about the mechanics of storytelling as a reasonably satisfying example of it.
    • 57 Metascore
    • 67 Scott Tobias
    It’s Complicated is the sort of “mature” character piece the French do regularly and better (and without the need for quotation marks around “mature”), but the cast at least helps relieve some of the tidiness that belies the title.
    • 70 Metascore
    • 67 Scott Tobias
    Plays like an extended episode of "Deadliest Catch" with eco-warriors as the stars--in fact, the Animal Planet show "Whale Wars," now in its second season, follows Sea Shepherd’s exploits--and it’s frequently a rousing adventure.
    • 58 Metascore
    • 67 Scott Tobias
    The three main characters aren’t cardboard-cutout poseurs, and for that alone, (Untitled) stands apart.
    • 81 Metascore
    • 67 Scott Tobias
    Meaney’s Flintstone-ian brute makes a terrific foil to Sheen’s prissy arrogance, but the other supporting players don’t make much of an impression. Ditto for this slice of history itself, though mileage may vary for soccer fans.
    • 63 Metascore
    • 67 Scott Tobias
    For the first time in Greengrass' career, the politics too often get ahead of the action, so points that might have been subtly embedded in the story are instead laid out like a left-wing editorial.
    • 73 Metascore
    • 67 Scott Tobias
    The film is both traditional and modern: austere in its engagement with history, and insistent in its showy action beats.
    • 52 Metascore
    • 67 Scott Tobias
    The Paranoids summons a scuzzy, winning nocturnal ambience, particularly when Hendler breaks out of his funk, hits the dance floor, and does his best impression of Michael Stipe in the “Losing My Religion” video. For a few brief moments, he and the movie transcend their four-walled ennui.
    • 80 Metascore
    • 67 Scott Tobias
    The film sprawls across two decades and 127 minutes, but there isn't a memorable image in it.
    • 52 Metascore
    • 67 Scott Tobias
    What Balagueró and Plaza lose in novelty, they partially gain back by sheer relentlessness: The film is a slab of raw meat for horror addicts, impeccably crafted mayhem that clocks in at under 90 minutes. Just don’t give it too much thought.
    • 79 Metascore
    • 67 Scott Tobias
    Let Me In is a beautiful redundancy.
    • 58 Metascore
    • 67 Scott Tobias
    At its best, the film works as a morally freighted film noir, with Jovovich particularly good as a breathy femme fatale who seduces De Niro with a mere change in inflection.
    • 82 Metascore
    • 67 Scott Tobias
    Worse still, all that introspection adds up to a disappointingly shallow accumulation of regrets and life lessons, none of them surprising. After the adrenaline rush, 127 Hours turns to vapor.
    • 55 Metascore
    • 67 Scott Tobias
    When Gyllenhaal stops selling out, the movie starts.
    • 69 Metascore
    • 67 Scott Tobias
    As long as Unstoppable stays on the train, it's queasily effective.
    • 46 Metascore
    • 67 Scott Tobias
    It never coheres as well as it should, but the film makes a fine mess.
    • 68 Metascore
    • 67 Scott Tobias
    Though impeccably photographed and acted, The Housemaid begins to feel stifling and airless once Im's thesis about the abuses of the powerful starts to drive the film to a foregone conclusion.
    • 72 Metascore
    • 67 Scott Tobias
    For their part, the Danes are either having more of an adventure or covering up their trauma with chest-thumping braggadocio; almost to a man, they're ready to come back for more.
    • 86 Metascore
    • 67 Scott Tobias
    In spite of some thoughtful-and occasionally just bizarre-rumination on what the marvels of Chaumet really signify, Cave Of Forgotten Dreams often feels as stifling as the place it explores, rather than the sensual odyssey its evocative title suggests.
    • 56 Metascore
    • 67 Scott Tobias
    Absent any qualities beyond the surface, like the history and politics that trouble Del Toro's best films, Don't Be Afraid Of The Dark is little better than a half-decent scare machine.
    • 56 Metascore
    • 67 Scott Tobias
    Real Steel falls somewhere near the intersection of elation and shame, essentially reworking the Sylvester Stallone arm-wrestling non-classic "Over The Top" for the equally ridiculous sport of android fisticuffs, and mostly getting away with it.
    • 82 Metascore
    • 67 Scott Tobias
    Kaurismäki has a narrow vision, disarming and sweet, yet utterly predictable, and there's little distinction between the films he's directing today and the films he directed 30 years ago. They have the wrong kind of timelessness.
    • 56 Metascore
    • 67 Scott Tobias
    "Fear And Loathing" star Johnny Depp more or less reprises his role as Thompson's alter ego, once again playing a journalist whose yen for excess obscures the idealism at his core. But the film, despite its obvious intelligence and flashes of wit, doesn't bring that passion across.
    • 39 Metascore
    • 67 Scott Tobias
    Yet in its best moments - and there are several good ones scattered across this ramshackle comedy - The Sitter is a reminder that Green's sensibility has always been heavy on whimsy and play, and that maybe he hasn't strayed that far from home.
    • 68 Metascore
    • 67 Scott Tobias
    The heart of Addiction Incorporated is what happened after DeNoble was canned and later emerged as a key witness in news reports, courtrooms, and Congressional subcommittees. Bound by a non-disclosure agreement, DeNoble operated like a character in a real-life John Grisham thriller.
    • 79 Metascore
    • 67 Scott Tobias
    There are times when even its subtleties seem predictable, when it questions dramatic conventions that indie films have already questioned, like the temperament of movie-parents whose children fear coming out of the closet. Yet the film has an abiding sweetness that's ultimately irresistible.
    • 73 Metascore
    • 67 Scott Tobias
    Just as Marston's scrupulous attention to local custom and devotion to social realism recall the work of John Sayles (Lone Star), his occasionally enervating style also recalls Sayles at his worst.
    • 73 Metascore
    • 67 Scott Tobias
    Stripped of all its random weirdness, Attenberg has the premise of a classic Yasujiro Ozu drama like "Late Spring," with its relationship between a widower approaching death and a devoted daughter who needs to leave the nest before it's too late.
    • 68 Metascore
    • 67 Scott Tobias
    There's a weary soul to HERE, embodied by Ben Foster and Lubna Azabal as two loners who meet in a café and impulsively decide to travel the country together, prompted more by mutual intuition than any meaningful exchange of words.
    • 50 Metascore
    • 67 Scott Tobias
    The film has an earnest quality that asserts itself more and more as it sputters along, and the men reveal more personal reasons to insert themselves into the boy's life. It's a good lesson for other films of its ilk: Leaving the world of indie disaffection is an important first step on the road to greatness.
    • 66 Metascore
    • 67 Scott Tobias
    It's a crude, angry battering ram of a film, much more concerned with counter-messaging than aesthetics, but it gets the job done.
    • 59 Metascore
    • 67 Scott Tobias
    Knightley is pure Manic Pixie Dream Girl fantasy, a vinyl-toting sparkplug who serves mostly to shake Carell from his dead-eyed stupor, but the relationship between the two becomes more touching as their wayward journey goes on.
    • 60 Metascore
    • 67 Scott Tobias
    Its insights are modest, but modesty is a virtue for a low-key comedy this doggedly unpretentious.
    • 61 Metascore
    • 67 Scott Tobias
    Gilroy does the unforgivable by turning out a lean thriller at a fatty 135 minutes, mainly by making the conspiracy plot far more complicated than it needs to be.
    • 40 Metascore
    • 67 Scott Tobias
    The mythology has deepened, largely to the negative, and the formula is as rigid as the fixins of a fast-food sandwich-tastes the same in every city. But the effects are eternally reliable.
    • 57 Metascore
    • 67 Scott Tobias
    Heckerling also struggles woefully with special effects, but even then, she's capable of pulling off a beautiful sequence where Silverstone remembers a specific city block as it's evolved through the ages. Her shambling little comedy never finds a consistent groove, but it's eager to please, and has the ancient gags to do it.
    • 48 Metascore
    • 67 Scott Tobias
    The X-factors tend to be the script and the performances, and those elements largely betray him in Bullet To The Head, which is a perfunctory exercise whenever Hill isn't busying himself with gun battles, ax fights, and other mano-a-mano confrontations. He can only do so much.
    • 63 Metascore
    • 67 Scott Tobias
    For as studiously as Griffiths avoids cheap exploitation, the film has an overall structure that isn’t as far removed from a Roger Corman “women in prison” movie as it appears.
    • 55 Metascore
    • 67 Scott Tobias
    The film itself doesn’t practice what it preaches: From the typically blocky DreamWorks CGI to the emphasis on bruising slapstick over verbal wit, The Croods takes the low road at every opportunity, giving lip service to enlightenment while following a Flintstonian instinct to keep punching the clock at the quarry.
    • 81 Metascore
    • 67 Scott Tobias
    You, The Living, if only by virtue of a more intimate scale than Songs, benefits from a lightness of touch and even a thin sliver of optimism in some sequences.
    • 51 Metascore
    • 67 Scott Tobias
    What it has in its favor is affability—some owed to Cusack’s gawky young charisma, some to Holland’s goofy tone and lightly surreal sense of humor, and still more to a cast where even the villains are mostly likeable...To paraphrase the opening narration in The Big Lebowski, Better Off Dead is the movie for its time and place. It fits right in there.
    • 47 Metascore
    • 65 Scott Tobias
    It's silly and often laughable, but it's a sweet fantasy, too, produced in loving homage to the frothiest traditions of stage and screen.
    • 45 Metascore
    • 65 Scott Tobias
    Still, the Farrellys have a distinct touch that carries their dubious premise across. They bring back the toilet humor of yore and make it shocking and funny again.
    • 66 Metascore
    • 65 Scott Tobias
    Though it has plenty of shocks, the film creates a wasteland that would be compellingly deranged even without vampires pressing insistently at every border. Horror is just the half of it.
    • 71 Metascore
    • 65 Scott Tobias
    It's the warm tenor of the film that ultimately rescues it.
    • 63 Metascore
    • 65 Scott Tobias
    The film is frequently masterful, suggesting the turbulent inner state of an American sociopath who believes himself to be a good guy.
    • 54 Metascore
    • 65 Scott Tobias
    Oblivion occupies an awkward no-man's-land between escapist space adventure and heady science fiction, but it's neither thrilling enough nor intellectually stimulating enough to satisfy devotees of either.

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