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 Some Like It Hot
Lowest review score: 0 The Stepfather
Score distribution:
1698 movie reviews
    • 70 Metascore
    • 20 Scott Tobias
    Debrauwer's characterization is as sharp and incisive as a butter knife.
    • 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.
    • 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.
    • 55 Metascore
    • 20 Scott Tobias
    Inept.
    • 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.
    • 25 Metascore
    • 20 Scott Tobias
    Awash in cheap shocks and corny sentiment, Dragonfly aspires to be an inspirational thriller about one man's spiritual journey, but it takes little time for him to reach his destination. All that's left for him and the audience to do is solve a riddle unfit for the back of a cereal box.
    • 58 Metascore
    • 20 Scott Tobias
    Deeply personal and deeply silly.
    • 33 Metascore
    • 20 Scott Tobias
    Dreadful.
    • 37 Metascore
    • 20 Scott Tobias
    With familiar faces like Arquette and Sevigny turning up in nothing roles, the film looks like a cheap, underproduced facsimile of the crime movies it’s trying to emulate. It goes down in a blaze of hoary.
    • 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.
    • 18 Metascore
    • 20 Scott Tobias
    Ritchie's frivolous comedy tries to have it both ways, thinning out the material for mass consumption while still sticking to the script -- an unstable alchemy that backfires horribly.
    • 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.
    • tbd Metascore
    • 20 Scott Tobias
    There’s a good horror movie to be made about how the insularity of the Amish could stoke paranoia and fear—and obscure the truth and forbid outside perspective—under these circumstances, but The Devil’s Hand doesn’t have more than a casual interest in Amish rituals and traditions.
    • 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.
    • 49 Metascore
    • 20 Scott Tobias
    Four Brothers regresses into gallows comedy, rampant misogyny, and one preposterous Hollywood action setpiece after another.
    • 31 Metascore
    • 20 Scott Tobias
    It sends a bad message to the film's young audience that the daughter of a world leader needn't be more than a vapid bikini-stuffer.
    • 44 Metascore
    • 20 Scott Tobias
    Estela Bravo's disgraceful documentary Fidel could have been financed by the man himself.
    • 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.
    • 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.
    • 66 Metascore
    • 20 Scott Tobias
    Despite her healthy fan base, Notorious C.H.O. looks like the dead-end to a limited repertoire.
    • 34 Metascore
    • 20 Scott Tobias
    Even as sequels to bad comedies go, Miss Congeniality 2 seems completely at a loss for fresh ideas.
    • 26 Metascore
    • 20 Scott Tobias
    Since the focus is on the track, the filmmakers aren't out to reinvent the wheel, but for such a simple piece of formula storytelling, they do a remarkably poor job of dotting I's and crossing T's.
    • 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.
    • 59 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.
    • 28 Metascore
    • 20 Scott Tobias
    Adored stands at the crossroads where Telemundo and beefcake magazines collide, but for strangers to that intersection, the film's camp value is exceeded only by its tedium.
    • 37 Metascore
    • 16 Scott Tobias
    The result is unfit for humankind.
    • 9 Metascore
    • 16 Scott Tobias
    There's an opportunity here for screenwriter Marek Posival and director Robert Lieberman to play up the squeamishness of upper-middle-class torturers who don't fit the profile, but they're too busy tending to horror-thriller clichés.
    • 27 Metascore
    • 16 Scott Tobias
    The film is a bedroom farce without the farce, a fish-out-of-water comedy on sun-cracked lake-bed, a story of fatherly redemption that barely gets past the hair-mussing stage.
    • 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."
    • 17 Metascore
    • 16 Scott Tobias
    There's really nothing much to Prom Night: No twists, no atmosphere, no big Grand Guignol setpieces, not a single moment when it tries to do something novel with the event, the killings, the villain, or the victims. It's a little like going on a tour of the slaughterhouse, where death is meted out with mechanical regularity, but visitors are kept at a safe, PG-13 distance from all the butchering.

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