For 1,529 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.7 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Funny Games
Lowest review score: 0 Date Movie
Score distribution:
1,529 movie reviews
    • 86 Metascore
    • 30 Scott Tobias
    Alejandro González Iñárritu is a pretentious fraud, but it’s taken some time to understand the precise nature of his fraudulence.
    • 70 Metascore
    • 20 Scott Tobias
    Debrauwer's characterization is as sharp and incisive as a butter knife.
    • 66 Metascore
    • 20 Scott Tobias
    Despite her healthy fan base, Notorious C.H.O. looks like the dead-end to a limited repertoire.
    • 64 Metascore
    • 25 Scott Tobias
    The only rational explanation for how an abysmal no-budget film like Cavite could get released theatrically is that its makers, co-writer/directors Ian Gamazon and Neill Dela Llana, have come up with a from-the-headlines hook too big to deny.
    • 62 Metascore
    • 20 Scott Tobias
    Directed without a shred of imagination by Denzel Washington -- Antwone Fisher masks a behind-the-scenes story that's far more inspiring than the phony uplift that makes it onto the screen.
    • 62 Metascore
    • 33 Scott Tobias
    The whole thing is rigged for crowd-pleasing payoffs - a bit about chocolate pie gets more mileage than a Prius - and those payoffs are about honoring white viewers for not being horrible racists. Kudos to them.
    • 59 Metascore
    • 30 Scott Tobias
    Between the loaded conversations and metaphors, and the phony overlay of a children's fairy tale, The Playroom can't stop telegraphing themes and interpreting itself. There's nothing left for the audience to do.
    • 59 Metascore
    • 30 Scott Tobias
    The impression left by Harmontown is that the podcast and the tour are feeding the beast, worsening a pathology that casts him as the “mayor” of whatever stage he happens to be occupying at the moment.
    • 58 Metascore
    • 20 Scott Tobias
    Deeply personal and deeply silly.
    • 58 Metascore
    • 35 Scott Tobias
    Produced in partnership with YouTube and distributed by National Geographic Films, the documentary Life in a Day is offspring with the worst genetic traits of both: narcissism on a global scale, speckled with pretty pictures. In a world without books or magazines, this is the movie people would watch in the waiting room at the dentist's office.
    • 58 Metascore
    • 20 Scott Tobias
    Swarming with zombies on both sides of the camera, the film is unrelentingly relentless, leaving no room for original director George Romero's wry satire on consumerism or his slow-paced, creeping undead.
    • 55 Metascore
    • 10 Scott Tobias
    Represents apple-pie mythmaking at its most insidiously thoughtless.
    • 55 Metascore
    • 20 Scott Tobias
    Inept.
    • 55 Metascore
    • 30 Scott Tobias
    Chadha doesn't seem at home with either Austen or Bollywood, and her ambitions far exceed her competence in the song-and-dance numbers, which are a clutter of stiff choreography and silly original lyrics.
    • 54 Metascore
    • 30 Scott Tobias
    LaPaglia brings the hero into a world of greed and compromised values, but his fork-tongued monologues aren't remotely seductive, which makes the ending a foregone conclusion.
    • 54 Metascore
    • 25 Scott Tobias
    Though he commits to a lot of embarrassing silliness, Murphy projects so little genuine warmth that his transformation barely registers.
    • 54 Metascore
    • 30 Scott Tobias
    Everly tries to patch together a profile out of borrowed news clips and shoddy videography. In the process, Frank's charisma and force never emerge.
    • 53 Metascore
    • 25 Scott Tobias
    Sports movies have a long, troubled history of well-meaning white paternalism, with poor black athletes finding success through white charity. But The Blind Side, based on Michael Lewis’ non-fiction book, finds a new low.
    • 52 Metascore
    • 25 Scott Tobias
    Even with a wild card like Black desperately retooling his lines, there's nothing authentic or personal about The Holiday--it's as chilling as heart-warmers get.
    • 52 Metascore
    • 30 Scott Tobias
    There's no forgiving the home-movie slackness of Greendale for its numbing dearth of imagination.
    • 52 Metascore
    • 33 Scott Tobias
    On balance, more dignity is lost than gained.
    • 51 Metascore
    • 20 Scott Tobias
    It's hard to fathom what they intended for this forgettable group of lonelyhearts, other than to choreograph a whopping 14 happy endings at once--all of them forced, none of them earned.
    • 51 Metascore
    • 33 Scott Tobias
    Spacey has made a career out of projecting the smarmy elitism of the powerful, but Casino Jack is so painfully clunky that he gets dragged down along with it.
    • 50 Metascore
    • 33 Scott Tobias
    Nowrasteh constantly overplays his hand, not realizing that some horrors speak for themselves.
    • 49 Metascore
    • 33 Scott Tobias
    Disney has once again constructed a digital environment out of cutting-edge special effects, only this time, it isn't merely silly; it's as dry and talky as a PBS panel show.
    • 49 Metascore
    • 20 Scott Tobias
    Includes a few half-hearted ironies about how people are really serving dogs, not the other way around, but even those gags are cribbed from a retired Seinfeld routine.
    • 49 Metascore
    • 20 Scott Tobias
    Four Brothers regresses into gallows comedy, rampant misogyny, and one preposterous Hollywood action setpiece after another.
    • 49 Metascore
    • 33 Scott Tobias
    No doubt the list of talent involved in this remake sounded great, but the project hasn't been thought through as anything more than an arch exercise in style. And even in that trifling end, it fails utterly.
    • 49 Metascore
    • 30 Scott Tobias
    Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else.
    • 49 Metascore
    • 20 Scott Tobias
    Major characters drop in and out of sight, WWII begins and ends without much fanfare, and full decades pass in the space of a few cuts.
    • 49 Metascore
    • 30 Scott Tobias
    Afternoon Delight is one of those bad films that seem to drift further and further away from a recognizable reality the more we get to know it.
    • 48 Metascore
    • 30 Scott Tobias
    Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism.
    • 48 Metascore
    • 30 Scott Tobias
    A major disappointment that lacks the courage to follow through on its premise's themes.
    • 48 Metascore
    • 30 Scott Tobias
    It reduces a large cast to an unwieldy collection of simpletons and caricatures.
    • 48 Metascore
    • 33 Scott Tobias
    Stiller's continued efforts to court the broadest possible audience has taken the edge off his comedy. Whenever he shares screen time with Williams, it looks like the grim future he's mapping out for himself.
    • 47 Metascore
    • 33 Scott Tobias
    The emotions at play in Bella are no doubt heartfelt--and must have resonated with a few hundred people, anyway--but they're so cut-and-dried that the mawkish script virtually writes itself.
    • 47 Metascore
    • 33 Scott Tobias
    Bratt’s character is stuck in old ways of thinking, and the movie, for all its well-meaning social intent, is right there with him.
    • 47 Metascore
    • 33 Scott Tobias
    Cody’s script fails in the fundamentals.
    • 47 Metascore
    • 30 Scott Tobias
    In reviving the beloved Disney property, Robinson attempts to resuscitate the fast-motion shots and sub-Three Stooges physical comedy of classic Herbie, but the new model seems distantly related to the innocent, peppy little car of old.
    • 46 Metascore
    • 0 Scott Tobias
    It will always be "too soon" for Extremely Loud And Incredibly Close, which processes the immense grief of a city and a family through a conceit so nauseatingly precious that it's somehow both too literary and too sentimental, cloying yet aestheticized within an inch of its life.
    • 46 Metascore
    • 25 Scott Tobias
    Baruchel and Eve never shed that awkward first-date chemistry, which speaks less to their talents or the possibilities of mismatched romance than to a movie that forces them together like animals being mated in captivity.
    • 46 Metascore
    • 0 Scott Tobias
    Even the most narcissistic jerk, like the one played by Jim Carrey in the loathsome comedy Bruce Almighty, would be expected to dream up untold pleasures for himself, acting as a self-serving genie with infinite wishes.
    • 46 Metascore
    • 30 Scott Tobias
    Saw
    Though dumber than a box of rocks, Saw forges ahead with the kind of conviction and energy that will keep bad-cinema junkies sitting bolt upright.
    • 45 Metascore
    • 20 Scott Tobias
    Stranding an able supporting cast in mostly disposable roles--including Jacqueline Bisset, Mary Kay Place, Joseph Gordon-Levitt, and Amber Benson--Cox writes himself into several corners, then plots honking contrivances to get out of them.
    • 45 Metascore
    • 10 Scott Tobias
    The words "florid" and "inert" are not quite antonyms, but it would nonetheless seem impossible for those two adjectives to apply to the same thing. And yet here comes The Paperboy, a swamp noir so spectacularly incompetent that even the ripest pulp attractions are left to rot in the sun, flies buzzing lazily around them.
    • 45 Metascore
    • 25 Scott Tobias
    Currently stopping by theaters briefly en route to DVD, the film tries to position Jameson as the next Linnea Quigley, the B-movie queen behind such enduring titles as "Hollywood Chainsaw Hookers" and "Sorority Babes In The Slimeball Bowl-O-Rama."
    • 45 Metascore
    • 33 Scott Tobias
    Though he labors endlessly to account for her behavior, which is explained away by flashbacks to her decadent parents and a glamorous mother-figure played under Vaseline lens by an uncredited Sandra Bullock, Bacon fails to make her seem human.
    • 45 Metascore
    • 33 Scott Tobias
    The characters in The Burning Plain are so narrowly defined by tragedy that they reveal no other facets of humanity.
    • 44 Metascore
    • 30 Scott Tobias
    Though serviceable as a primer on Soviet history under Stalin, the film's sloppy assemblage of dull interviews and stock footage never comes close to illuminating a life that the Russian people have long cherished as a precious enigma.
    • 44 Metascore
    • 20 Scott Tobias
    Estela Bravo's disgraceful documentary Fidel could have been financed by the man himself.
    • 44 Metascore
    • 25 Scott Tobias
    There isn’t a whiff of humility or self-deprecation to Clay, Roque, Jensen, Cougar, and Pooch, a collection of black-ops douchebags and our ostensible heroes.
    • 44 Metascore
    • 25 Scott Tobias
    Perhaps someday, in the greatest twist of all, Shyamalan will be remembered as the Hitchcock of the early 21st century. Until then, movies like Devil will be misunderstood as schlock.
    • 44 Metascore
    • 33 Scott Tobias
    The indie rom-com/sitcom L!fe Happens is a case study in how bad movies can turn an ordinary, relatable situation into a grotesque distortion with only a passing resemblance to the way actual human beings live and interact with each other.
    • 43 Metascore
    • 33 Scott Tobias
    Director Rob Whitehair doesn't do much to complicate what's essentially a promotional featurette for Wiede and Tucker's Wild Sentry organization, presenting the anti-wolf faction as rabid, irrational, and extreme. But he can't be blamed for wanting to stoke the drama a little: Without it, True Wolf would be a lesson in the care and feeding of an exotic pet.
    • 43 Metascore
    • 30 Scott Tobias
    The only redeeming moments come from Walken, whose assured, effortless screen presence stands out from his faceless co-stars. Taped to a leather chair and bleeding profusely from a severed finger, he's still the most powerful person in the room.
    • 43 Metascore
    • 30 Scott Tobias
    Between the performances in the bedroom and on stage, 9 Songs gives off plenty of heat, but the whole project seems half-thought-out and hastily arranged, hampered by butt-ugly DV photography that turn skin tones grimy and make the Brixton scenes look as high-grain as a bowl of Mueslix.
    • 43 Metascore
    • 33 Scott Tobias
    Okay, so when does the fun start?
    • 43 Metascore
    • 33 Scott Tobias
    These are all legitimate concerns, which Navarro supports with testimony from economists, politicians, union leaders, and businesspeople, but they're undermined at every point by a sky-is-falling hysteria that registers as white noise. It's the documentary equivalent of a raving street-corner derelict.
    • 43 Metascore
    • 33 Scott Tobias
    Monte Carlo finally resolves itself in a farcical climax that at least shows a little energy, but it isn't enough to overcome the discomfiting tensions and indifferent formula filmmaking that plagues nearly every scene.
    • 42 Metascore
    • 30 Scott Tobias
    A deadly earnest, relentlessly solemn affair.
    • 42 Metascore
    • 33 Scott Tobias
    Few of the scenes in The Perfect Game feel authentic, but the ones in Monterrey are especially lacking in flavor.
    • 42 Metascore
    • 25 Scott Tobias
    It’s a busier and less coherent film, too, with a baffling master plot and a crowded pileup of special effects in search of something to do.
    • 42 Metascore
    • 33 Scott Tobias
    It's now a straight-up crime and retribution flick, capped off by the dumbest wolf-feeding coda a 13-year-old ever dreamed up.
    • 42 Metascore
    • 25 Scott Tobias
    It shouldn't be surprising that writer-director Steve Oedekerk, the man responsible for "Kung Pow! Enter The Fist" and the second "Ace Ventura" movie, considers single-celled organisms as he shoots for the lowest common denominator.
    • 41 Metascore
    • 30 Scott Tobias
    Stevens wants to honor the living legends who have miraculously agreed to appear in his movie, but after spending a full hour treating their characters like cartoons, the about-face into heartfelt slop lacks the necessary gravitas.
    • 41 Metascore
    • 33 Scott Tobias
    Thornton is one of America's finest actors, but after this, "Bad News Bears," and "School For Scoundrels," his run of loveably irascible authority-figure roles should probably come to a close. He's kicked around one child too many.
    • 41 Metascore
    • 25 Scott Tobias
    Nearly everything that happens in Olympus Has Fallen is ludicrous, yet because the fate of the president and the nation hangs in the balance, the crisis is treated with the gravitas of Paul Scofield at the West End.
    • 41 Metascore
    • 30 Scott Tobias
    While discipline and self-control certainly figure into Ladouceur’s teachings, there’s also a passion and drive that’s totally absent from Caviezel’s performance. It’s not that the film needs any more goosing—it’s broad and shameless even by inspirational-sports-movie standards—but its basic lack of plausibility starts with him.
    • 41 Metascore
    • 20 Scott Tobias
    The tease of 50 gorgeous women fighting to the death has a classic grindhouse appeal, but Raze is strictly a “be careful what you wish for” proposition.
    • 40 Metascore
    • 33 Scott Tobias
    As the plot unfolds, brick by brick, the structure starts to wobble until it finally collapses into unintentional comedy.
    • 40 Metascore
    • 30 Scott Tobias
    Dracula Untold boldly attempts to retell the Dracula origin story by sinking its teeth into Bram Stoker’s novel and draining it of all the passion, sensuality, and ambience that have seduced readers and moviegoers since the turn of the 20th century.
    • 39 Metascore
    • 33 Scott Tobias
    A film so utterly lacking in conviction, it needs a 25-year-old Tom Cruise vehicle just to keep its spine straight.
    • 39 Metascore
    • 20 Scott Tobias
    There's hardly a character, plot twist, or musical theme in the whole enterprise that isn't primed to go straight for the tear ducts, as if Johnson assumes that his audience is incapable of mounting a defense.
    • 39 Metascore
    • 25 Scott Tobias
    It's neither remotely convincing as true-to-life drama or lurid and propulsive enough to work as exploitation. It's just bad.
    • 39 Metascore
    • 30 Scott Tobias
    Stone has made an excruciating disaster for the ages.
    • 38 Metascore
    • 30 Scott Tobias
    Bad Boys II is the rare case in which escapism involves leaving the theater.
    • 38 Metascore
    • 25 Scott Tobias
    Any resemblance the film bears to real people and real situations is purely coincidental.
    • 38 Metascore
    • 30 Scott Tobias
    Free Birds feels like Hollywood brining small children for the blockbusters they’ll pay to see when they’re older. It’s littered with quips, but the film puts a premium on loud, effects-driven action that mistakes nonstop intensity for cartoony entertainment.
    • 38 Metascore
    • 30 Scott Tobias
    Wiig’s new comedy sulks limply along with her, unable to bring the kind of energy that might complement her tendency to underplay every scene.
    • 38 Metascore
    • 33 Scott Tobias
    Writer-director Mary Harron, a supremely intelligent adaptor who did wonders with the screen version of Bret Easton Ellis' "American Psycho," simply doesn't have the chops to give this story the florid kick it needs.
    • 38 Metascore
    • 30 Scott Tobias
    An aggressive black comedy that seeks to satisfy a bloodlust already quelled many times over.
    • 37 Metascore
    • 16 Scott Tobias
    The result is unfit for humankind.
    • 37 Metascore
    • 33 Scott Tobias
    Arriving late to the scene, Another Gay Movie coughs up the same awkward gags about coming of age via false starts and sexual humiliation, only the genuine sweetness and camaraderie that made the first "Pie" movie bearable has been replaced by glib self-awareness.
    • 37 Metascore
    • 10 Scott Tobias
    To borrow a phrase from Patton Oswalt’s bit on a particularly monstrous fast-food creation, the film is “a failure pile in a sadness bowl.”
    • 37 Metascore
    • 25 Scott Tobias
    It goes without saying that Evan Almighty, a kid-friendly follow-up to the Jim Carrey vehicle "Bruce Almighty," is more Ronald McDonald than Holy Bible, but it didn't have to be this epically trite.
    • 37 Metascore
    • 25 Scott Tobias
    Not a second of it is convincing - or compelling - but then the film is about "utopia," a blandly idealized place unblemished by hardship, malice, sin, or errant golf strokes.
    • 37 Metascore
    • 16 Scott Tobias
    In many ways, the film is history repeating itself, as the same Weinstein brothers who famously dropped $10 million on "Happy, Texas" in 1999 have overpaid again for "Happy, Texas 2."
    • 37 Metascore
    • 33 Scott Tobias
    It's loud, relentless, and difficult to endure, capturing the experience of ground-level alien warfare with woeful verisimilitude.
    • 36 Metascore
    • 10 Scott Tobias
    Looks like a cheap polyester suit, an entirely synthetic composite of scenes from other movies.
    • 36 Metascore
    • 30 Scott Tobias
    This Arthur cravenly turns Susan into a monstrous status-seeker, making her less of a human being and thus much easier for Arthur to trample over in securing a meaningful adult relationship.
    • 36 Metascore
    • 10 Scott Tobias
    Kedma makes for a clumsy, lugubrious history lesson.
    • 36 Metascore
    • 20 Scott Tobias
    The whole three-ring circus winds up in a church for a redemptive finale, but by then, Diary has committed too many sins for even the most generous soul to offer salvation.
    • 36 Metascore
    • 20 Scott Tobias
    There are swords and sorcery, pirates and monsters, taxed bodices and taxing mythology. In other words, there's the bare minimum necessary to summon this dismal movie into existence.
    • 36 Metascore
    • 30 Scott Tobias
    In the absence of sincerity, Cletis Tout creates a vacuum that flushes out the entire story, leaving nothing but its own hollow cleverness.
    • 36 Metascore
    • 10 Scott Tobias
    Lucky Bastard mostly combines the worst of all worlds: the less-clever-than-it-thinks script of old-school porn, the piercing brightness and flatness of video production, an especially lackluster rendering of the played-out found-footage horror concept.
    • 35 Metascore
    • 30 Scott Tobias
    Basically a prim, desexualized "Carrie," told from the prom date's perspective and featuring Peter Coyote in the Piper Laurie role.
    • 35 Metascore
    • 25 Scott Tobias
    To think that a semi-major studio financed a production this low-rent and listless is amazing: Since when did MGM start making student films?
    • 35 Metascore
    • 20 Scott Tobias
    Perhaps due to the talent of everyone involved, Dreamcatcher moves with an oddly exhilarating awfulness that sets it apart from more run-of-the-mill horror films, which lack the imagination and budget to be so thoroughly misconceived.
    • 35 Metascore
    • 25 Scott Tobias
    An abysmal sequel that abandons the found-footage concept, along with the pockets of wit and originality that made its predecessor salvageable.
    • 35 Metascore
    • 33 Scott Tobias
    The film looks to do for reflective surfaces what "Amityville 4" did for killer lamps.