For 1,611 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 0.3 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Silent Light
Lowest review score: 0 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
1,611 movie reviews
    • 90 Metascore
    • 75 Scott Tobias
    Pleasing mainly just as a message-in-a-bottle from a restless, persecuted artist-that is, until the amazing closing shot, which brings the volatility of post-Green Revolution Iran home with unforgettable force.
    • 51 Metascore
    • 75 Scott Tobias
    Going The Distance could stand to color outside the lines a bit more, but it's perceptive about the problems of young people torn between pursuing love or their nascent career ambitions, and the witty script, by first-timer Geoff LaTulippe, is spiked with refreshing profanity.
    • 67 Metascore
    • 75 Scott Tobias
    Segel has always played more a serial monogamist than a horndog, and his earnest, self-deprecating screen persona graces the film's crudest moments with a kind of innocence.
    • 74 Metascore
    • 75 Scott Tobias
    The problem with Sicko--one endemic to Moore documentaries in general--is that it never confronts any challenges to its position, which can make it seem like the crudest sort of agitprop.
    • 68 Metascore
    • 75 Scott Tobias
    Madsen casts doubt on the notion that this Pandora's box will never be opened, either by some cataclysmic event, like another Ice Age, or drilling by future generations who may not be aware of Onkalo, or even able to decipher warnings of its contents. Something terrible seems likely to happen-just not today.
    • 65 Metascore
    • 75 Scott Tobias
    Modest, personal, and nicely proportioned, Red Flag resembles one of Hong Sang-soo’s self-reflexive doodles about relationships and filmmaking — "Oki’s Movie," in particular — and it wisely doesn’t take too big a bite.
    • 57 Metascore
    • 75 Scott Tobias
    The primary challenge for all blockbuster franchises is to be big yet fleet. Iron Man is as good as model as any, thanks largely to Robert Downey Jr.’s flamboyantly narcissistic Tony Stark and filmmakers that valued pacing and character as much as superhero hardware.
    • 59 Metascore
    • 75 Scott Tobias
    A Molière this good deserves a more substantive portrait, but this one will do for now.
    • 46 Metascore
    • 75 Scott Tobias
    Random silliness rules the day, but the gags are frequently surprising.
    • 61 Metascore
    • 75 Scott Tobias
    He's (Corbijn) a patient, fastidious filmmaker with a great eye-ideal for his subject here-but his austerity doesn't entirely erase the suspicion that he doesn't have much on his mind. His film is a triumph, but it may be a triumph of style over substance.
    • 74 Metascore
    • 75 Scott Tobias
    The entertaining new documentary The Heart Of The Game at least acknowledges many of the same conflicts that arose in Hoop Dreams, even though it's really more about two outsized personalities and their infectious passion for the sport.
    • 73 Metascore
    • 75 Scott Tobias
    Rocket Science doesn't go too far into Todd Solondz-style mockery, either; though painful to witness at times, Thompson's determination to face his fears--not just of speaking, but of girls, too--is heartbreakingly noble and courageous.
    • 55 Metascore
    • 75 Scott Tobias
    It also, in its best moments, makes horror out of the 21st-century obsession with self-documentation.
    • 71 Metascore
    • 75 Scott Tobias
    It's common for coaches to take roles as father figures on a high-school and college level, but Undefeated gets into how that dynamic works on both ends, as Courtney seeks to salve the pain of his family history.
    • 61 Metascore
    • 75 Scott Tobias
    Though it's a ramshackle piece of filmmaking, Best Worst Movie is an honest one, too, staying open to awkward, humbling moments while still making a solid case for the film's immortal badness.
    • 59 Metascore
    • 75 Scott Tobias
    The Lie's payoff strikes an unexpected, refreshingly open note that makes this slight little indie more resonant than its scale suggests. The line this couple is about to cross is significant, and the film takes it seriously.
    • 49 Metascore
    • 75 Scott Tobias
    Many of its fiercest detractors may be surprised to find that it's a far more sobering piece of speculative fiction than they might have imagined.
    • 74 Metascore
    • 75 Scott Tobias
    The best moments of Maïwenn's Polisse, about the dedicated members of a Child Protection Unit in northern Paris, have the same quality, a fly-on-the-wall docu-realism that feels eerily like the real thing.
    • 48 Metascore
    • 75 Scott Tobias
    Director Burr Steers (Igby Goes Down) doesn't always have a firm handle on what is and isn't appropriate; the film makes a few sharp detours into misogyny, and the level of smuttiness is surprisingly high, which may be a function of Efron wanting to grow away from his core audience too fast.
    • 64 Metascore
    • 75 Scott Tobias
    It's a chilling film about the routine business of unspeakable acts.
    • 65 Metascore
    • 75 Scott Tobias
    Hill, dialing back on the pissy vulgarity of his supporting roles in "Knocked Up" and "Funny People," makes the perfect foil, as passive and impressionable as Brand is reckless and impulsive.
    • 72 Metascore
    • 75 Scott Tobias
    Radio Unnameable is at its best when it tries to find some visual analog to Fass' vibe, courtesy of cinematographer John Pirozzi, who takes beautiful snapshots of a sleepless city. It also, in the Fass way, does a little meandering.
    • 46 Metascore
    • 75 Scott Tobias
    The film belongs to Linney, whose caustic putdowns and status-seeking veneer barely hides her genuine hurt over her husband's philandering and her distant relationship to her own child. No doubt her diaries would be more compelling than the nanny's.
    • 79 Metascore
    • 75 Scott Tobias
    Coming after the inspired trifecta of "Dracula: Pages From A Virgin's Diary," "Cowards Bend The Knee," and "The Saddest Music In The World," Brand feels a little like boilerplate Maddin rather than a fresh burst of inspiration.
    • 86 Metascore
    • 75 Scott Tobias
    Flight was commissioned by producers overseas, and it feels similarly, impeccably slight.
    • 42 Metascore
    • 75 Scott Tobias
    The Abandoned is a rare horror film that moves from the real world into a kind of psychic space, and slowly suffocates its characters inside their own heads.
    • 82 Metascore
    • 75 Scott Tobias
    If the role brings her more recognition and work, all the better, but Leo certainly isn't lobbying for it. She doesn't show off. She just does what she's always done: Reveals a character for who she is, nothing more, nothing less.
    • 59 Metascore
    • 75 Scott Tobias
    Put simply, the film excels most at not being awful.
    • 78 Metascore
    • 75 Scott Tobias
    Benson and Moorhead have made a horror film for jaded aficionados, deconstructing and reconstructing tired elements into a gnarled, distinctive Frankenstein's monster. This monster might ransack a village, but it would have to think about it first.
    • 73 Metascore
    • 75 Scott Tobias
    Watching the Australian coming-of-age film Somersault is a little like watching a fluffy white bunny hop through a minefield, one tiny spring away from becoming tonight's rabbit stew.

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