For 1,381 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
Average review score: 60
Highest review score: 100 Zodiac
Lowest review score: 0 Extremely Loud and Incredibly Close
Score distribution:
1,381 movie reviews
    • 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.