For 1,630 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 0.1 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 The Stepfather
Score distribution:
1,630 movie reviews
    • 65 Metascore
    • 60 Scott Tobias
    Medem turns screenwriting into a feng shui exercise, shifting story elements like pieces of furniture around a room, as if the best films are the ones that end up facing southeast.
    • 48 Metascore
    • 60 Scott Tobias
    Both too obvious and needlessly complicated, Ju-On juggles several non-chronological chapters based on different characters, ensuring that none of the corpses-to-be make much of an impression.
    • 67 Metascore
    • 60 Scott Tobias
    Aided by raw, committed performances from her two leads, Goldbacher makes them tough company for themselves and anyone else around them, on or off the screen.
    • 69 Metascore
    • 60 Scott Tobias
    Haggis, who wrote the fine adapted screenplay for "Million Dollar Baby," embeds Crash's script so deeply in allegory that every revelation feels manipulative and programmatic, in spite of some terrific individual scenes and performances.
    • 57 Metascore
    • 60 Scott Tobias
    Playing against rubber-faced type, cult icon Bruce Campbell grounds his Elvis in a wry, understated swagger that holds the film's wacky excesses in orbit and does more honor to the legend himself than a thousand Vegas lounge-show wannabes.
    • 67 Metascore
    • 60 Scott Tobias
    Director Jon Favreau, who dipped profitably into family entertainment with 2003's "Elf," effectively recreates the illustrative universe of a good children's book, but he's stuck with a story that noisily grinds its gears.
    • 47 Metascore
    • 60 Scott Tobias
    Feels more like a clever student short that got out of hand than the Kafka-esque nightmare that director Greg Harrison (Groove) likely intended.
    • 67 Metascore
    • 60 Scott Tobias
    Shlam and Medalia haven’t constructed the film particularly artfully—it’s sluggishly paced, and the two boys at its center aren’t vividly drawn—but Web Junkie is a case where the access is so unexpected and revelatory that it’s a wonder just to have the footage.
    • 34 Metascore
    • 60 Scott Tobias
    The small achievement of Devil’s Due is how much it both exploits the video-cam approach and overcomes some of its limitations.
    • 68 Metascore
    • 60 Scott Tobias
    With Heaven, Tykwer completes his self-appointment as Kieslowski's heir apparent, but since he has always been a better filmmaker than a thinker, his ideas drift into the ether.
    • 74 Metascore
    • 60 Scott Tobias
    Based on its thrillingly fractured first half - not to mention "Moon" in its entirety - Jones seems much smarter than he allows the film to be in the end. It wriggles out of its own intriguing puzzle.
    • 52 Metascore
    • 60 Scott Tobias
    Edgerton may write himself out of the problem too easily, but at least the problem itself is fascinating to consider.
    • 68 Metascore
    • 60 Scott Tobias
    Alternately exhilarating and tedious, Why Don’t You Play In Hell? is Sono’s tribute to moviemaking—specifically an elegy to 35mm film, though the tone could hardly be called mournful.
    • 47 Metascore
    • 60 Scott Tobias
    With his bleached-blond hair, implacable European accent, and nerdy devotion to cool rationality, Ribisi acts like a cross between a young Reich officer and the Comic Book Guy from "The Simpsons," and his unashamed hamminess steals the movie.
    • 56 Metascore
    • 60 Scott Tobias
    Barrymore has rarely been so bright and effortlessly charming, but it's all lost on Fallon, who often resembles one of those unfortunate SNL guests who freeze up on live TV, completely out of their element. If Fallon wants a life after SNL, he might want to try another medium.
    • 67 Metascore
    • 60 Scott Tobias
    Following up his acclaimed debut feature "Down Terrace," a gangster drama that also mixed genre shocks with dark comedy and explosive family spats, Wheatley gives Kill List a discordant tone that makes it feel like a horror film even when it isn't.
    • 60 Metascore
    • 60 Scott Tobias
    The only character who stands out is a relentlessly clowning man-child named Taloche (James Thierree), but only as a symbol for the irrepressible spirit of an entire people.
    • 71 Metascore
    • 60 Scott Tobias
    What's good about Next Stop Wonderland -- and nearly good enough to warrant recommendation -- has nothing to do with Anderson's sloppy, disjointed filmmaking, and everything to do with Hope Davis' far more disciplined and appealing lead performance.
    • 31 Metascore
    • 60 Scott Tobias
    One of the film's oddest missteps is in making the boy-band gig just another occupation, instead of using it as a central way to illuminate the brothers' unusual bond.
    • 61 Metascore
    • 60 Scott Tobias
    It's glorious while it lasts, but then the film goes back to figuring out how to keep its oversized vessel from taking on water.
    • 49 Metascore
    • 60 Scott Tobias
    In its amalgam of classic Hollywood war movies and courtroom dramas, Hart's War takes the audience to a place that never existed in order to teach it a lesson it already knows.
    • 65 Metascore
    • 60 Scott Tobias
    It’s false as social document, often gripping as entertainment.
    • 74 Metascore
    • 60 Scott Tobias
    In spite of the uniformly strong performances, 13 Conversations largely factors out human nature, leaving a giant puzzle where each piece is pre-determined to fall into place. In the end, the Sprechers have a movie for people who brag about finishing the New York Times Sunday crossword in pen.
    • 72 Metascore
    • 60 Scott Tobias
    While The Woodsman gets the psychological profile right, it fails to make Bacon a man.
    • 70 Metascore
    • 60 Scott Tobias
    The natural chemistry between Ellefsen and Nordin keeps the film pleasant and inoffensive, but is there any question about where or when or how it will go?
    • 61 Metascore
    • 60 Scott Tobias
    Because Quitting admits its basic falsehood up front, the film is never emotionally affecting, but Jia's participation in this confrontation of his past shows remarkable courage and honesty, especially when his behavior doesn't inspire much sympathy.
    • 79 Metascore
    • 60 Scott Tobias
    Schrader has always been better as a writer and a critic than as a dramatist, which is why his most successful work has either been published in film journals or directed by Martin Scorsese. His flat, awkward staging diminishes some good performances -- particularly those of Nolte and a welcome Sissy Spacek.
    • 66 Metascore
    • 60 Scott Tobias
    When it comes time to get to the bottom of what’s really going on, McDowell and Lader start losing the thread.
    • 49 Metascore
    • 60 Scott Tobias
    The best that could be said of Ragnarok is that it delivers the goods—nice scenery, crisp pacing, the requisite horror and suspense beats—but it needs something, anything, to give it some distinction.
    • 68 Metascore
    • 60 Scott Tobias
    May be a bloodless piece of thriller craftsmanship, but at a time when craft has become negligible, its efficiency and whipcrack timing are increasingly uncommon virtues.

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