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 Time Out
Lowest review score: 0 Officer Downe
Score distribution:
1698 movie reviews
    • 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.
    • 38 Metascore
    • 30 Scott Tobias
    Bad Boys II is the rare case in which escapism involves leaving the theater.
    • 41 Metascore
    • 30 Scott Tobias
    Monahan isn’t required to satisfy bloodlust or to pay off conventional plot points, even if his screenplay for “The Departed” displayed an abundant talent for doing so. But he assumes too much in believing that the audience will connect in any way with a sour, prickly narcissist who’s trapped in the gilded cage of wealth and fame.
    • 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.
    • 34 Metascore
    • 30 Scott Tobias
    Bruce McDonald’s Hellions is an unpleasant muddle of the visceral and the abstract.
    • 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.
    • 37 Metascore
    • 30 Scott Tobias
    Virtually nothing happens in the film that enhances viewers’ understanding of the situation. Winterbottom and company merely survey the scene, kick around a few half-assed moments of atmosphere and suspense, shrug their shoulders, and pack it in for the night.
    • 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.
    • 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.
    • 32 Metascore
    • 30 Scott Tobias
    Opens with its snazziest effects sequences and gets cheaper from there, as if studio executives were constantly scaling back the budget as the filmmakers went along.
    • 38 Metascore
    • 30 Scott Tobias
    The movie offers more of the same, only more: more T&A, more conspicuous consumption, more cameos, more Jeremy Piven yelling, and significantly more Mark Cuban than anyone outside the city of Dallas needs to see.
    • 48 Metascore
    • 30 Scott Tobias
    It reduces a large cast to an unwieldy collection of simpletons and caricatures.
    • 34 Metascore
    • 30 Scott Tobias
    At least White summons the camp energy that Lake Placid is fecklessly seeking.
    • 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.
    • 34 Metascore
    • 30 Scott Tobias
    Joseph winds up with an disorganized mishmash of visual gimmicks, empty exoticism, and soundbites worthy of “This is Spinal Tap.” Great music and some dynamic, up-close concert footage gives it the occasional life, but The Reflektor Tapes will appeal to Arcade Fire devotees only and even their patience might be tested.
    • 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.
    • 28 Metascore
    • 30 Scott Tobias
    At a minimum, a parody should be funnier than the film it’s sending up, but Fifty Shades of Black, a quick-and-dirty riff on last year’s S&M romance “Fifty Shades of Grey,” falls a laugh or two short of even that low standard.
    • 38 Metascore
    • 30 Scott Tobias
    An aggressive black comedy that seeks to satisfy a bloodlust already quelled many times over.
    • 34 Metascore
    • 30 Scott Tobias
    Nothing is more dangerous than a sequel to a wildly successful awful movie, because the artisans involved have to preserve the franchise, which means honoring the original formula as if it were a cure for cancer.
    • 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.
    • 25 Metascore
    • 30 Scott Tobias
    Even allowing The Identical its premise, the reframing of the Elvis myth as a wholesome example of following God’s plan is not as inspirational as the film seems to believe. Rock fantasies are rarely this milquetoast.
    • 50 Metascore
    • 30 Scott Tobias
    Sorting through the shards of the Ottoman Empire requires a historical complexity that eludes Crowe, who flattens the landscape into bromides on family and country, and the hard-won glories of being Russell Crowe. His on-screen persona could stand to be as modest as his filmmaking abilities.
    • 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.
    • 41 Metascore
    • 30 Scott Tobias
    Perhaps it was deliberate strategy on the part of McCann and his screenwriter, Anthony Di Pietro, to neutralize the politics of a mass killing and focus more on the psychic stress that triggered it. But even if that was the case, it doesn’t make the film any less crushingly banal.
    • 52 Metascore
    • 30 Scott Tobias
    There's no forgiving the home-movie slackness of Greendale for its numbing dearth of imagination.
    • 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.
    • 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.
    • 48 Metascore
    • 30 Scott Tobias
    A major disappointment that lacks the courage to follow through on its premise's themes.
    • 34 Metascore
    • 30 Scott Tobias
    In Dead Or Alive: Final, Miike trades his grimly comic, sex-and-blood insignia for a self-consciously wacky conflation of Hong Kong action cinema and Japanese anime, with a little cheap science fiction tossed in for good measure.

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