For 1,514 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 0.8 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Adaptation.
Lowest review score: 0 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
1,514 movie reviews
    • 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.
    • 66 Metascore
    • 75 Scott Tobias
    The scenes between Gelber and Blair are the strongest in Dark Horse, because they form a bond not out of shared interests or passion, but a weary kind of compromise.
    • 67 Metascore
    • 75 Scott Tobias
    Working from Chantal Thomas' novel, Jacquot doesn't entirely scrape the gloss off this love triangle, which plays neither as a florid bodice-ripper nor as emotionally complex as it might have been. It stays on the surface, but at least that surface is gorgeous.
    • 52 Metascore
    • 75 Scott Tobias
    In easily her best performance - and sadly, one few will see, given the film's modest release strategy - Jessica Biel stars as a single mother in Cold Rock, Washington.
    • 55 Metascore
    • 75 Scott Tobias
    It also, in its best moments, makes horror out of the 21st-century obsession with self-documentation.
    • 69 Metascore
    • 75 Scott Tobias
    Markevicius tells this incredible yarn through the significantly less exciting format of an ESPN-style documentary, which gets the job done with minimal flourish. Still, he employs former Lithuanian greats like Arvydas Sabonis and Sarunas Marciulionis to serve as guides to the country's past and present, and the basketball culture that's thrived there under the best and worst of times.
    • 71 Metascore
    • 75 Scott Tobias
    For most of the way, right up until a hastily contrived and deeply unsatisfying ending, the film perceptively sketches a fractured identity, a man who enters a new life carrying painful remnants of the old.
    • 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.
    • 56 Metascore
    • 75 Scott Tobias
    Hits the sweet spot between stunning ineptitude, hilariously dated period touchstones, and a touching naïveté that gives it an odd distinction. As with the other so-bad-it's-good sensations that have toured the midnight circuit over the last few years - "The Room," "Birdemic," "Troll 2" - its awkwardness comes partly from a foreign-born auteur making an American film, and the culture clash plays out for all to see.
    • 81 Metascore
    • 75 Scott Tobias
    A hypnotic 80-minute drift through nocturnal New Orleans that seeks more to pick up on bits of culture and atmosphere than to tell any stories. They blow up the conventions of documentary realism to capture the city's soul, a much more abstract, elusive undertaking.
    • 54 Metascore
    • 75 Scott Tobias
    Save The Date's achievements are modest - it could be funnier and more affecting, and it ends with a shrug - but the film is wise about sibling relationships, the uncertainty of youth, and smaller matters, like the way people relate to each other after a break-up.
    • 54 Metascore
    • 75 Scott Tobias
    It's a struggle at times, mostly because the action-movie clichés haven't been weeded out of the script, but the film is cheerfully, irresistibly destructive - an old-fashioned, "Rio Bravo" shoot-'em-up with the hicktown spirit of "Tremors," though it isn't as good as either.
    • 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.
    • 76 Metascore
    • 75 Scott Tobias
    If nothing else, Shortland gives Rosendahl a star-making platform on par with Cornish’s in "Somersault": She’s a magnetic screen presence who subtly conveys not only the struggle and guilt inherent to her situation, but also a residue of hate that’s carried over from her parents. The actor, like her character, shoulders a heavy burden.
    • 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.
    • 80 Metascore
    • 75 Scott Tobias
    The film is less about people or this specific herding ritual than about the majesty of the landscape and the interplay between these animals, their keepers, and the dictates of nature itself.
    • 63 Metascore
    • 75 Scott Tobias
    Epstein and Friedman's doc-like approach also results in a certain dramatic stasis; Howl is a film aimed more for the head than the gut.
    • 75 Metascore
    • 75 Scott Tobias
    All these characters make a beautiful mess together, even if McCarthy spends too much time tidying it up.
    • 72 Metascore
    • 75 Scott Tobias
    Iron Crows isn't the miserablist wallow you might expect. While director Park Bong-Nam observes the hazards of ship-breaking with a thoroughness that borders on fetishization, he also catches the humor and camaraderie of men in the trenches.
    • 71 Metascore
    • 75 Scott Tobias
    The truthfulness of Winstead's performance - and those of her co-stars, too - has a steadying influence on James Ponsoldt's modest drama, which at times seems in danger of failing a sobriety test.
    • 57 Metascore
    • 75 Scott Tobias
    Cross may not earn the broad recognition he deserves for his performance in It's a Disaster, a droll apocalypse comedy of exceedingly modest scale and even more modest commercial appeal. But it's still a master class in how to play the straight man right.
    • 73 Metascore
    • 70 Scott Tobias
    Adapted from a long-running stage play, The Dinner Game has been refined to peak comic efficiency, with every misunderstanding and hare-brained scheme neatly cascading into bigger and bigger catastrophes.
    • 48 Metascore
    • 70 Scott Tobias
    Until its pat, implausible conclusion, the film has the edgy nerve of a classic amour fou, charting a complex relationship with the sort of bumpy, unpredictable spirit that would do Cassavetes proud.
    • 83 Metascore
    • 70 Scott Tobias
    The film might have been more powerful, not to mention fair, if the nuns believed they were doing right; only on movie night, when McEwan sees herself in Ingrid Bergman in "The Bells Of St. Mary's," does Mullan grant her so much as the delusion of rectitude.
    • 71 Metascore
    • 70 Scott Tobias
    Agreeably soft at heart, a fun and progressive entertainment that above all wants to give love a wide berth, no matter what imposing obstacles have to be cleared from the aisle first.
    • 77 Metascore
    • 70 Scott Tobias
    Serves as a fascinating window into an era of radical dissent that now seems centuries past.
    • 51 Metascore
    • 70 Scott Tobias
    One minor element in Le Divorce, the sale of a disputed and possibly valuable painting that once belonged to Watts' family, welcomes scene-stealing bits by Bebe Neuwirth and Stephen Fry as appraisers with clashing motives.
    • 69 Metascore
    • 70 Scott Tobias
    Though it gets far too cute, The Cuckoo settles into the snappy rhythms of a promising sitcom pilot, at least until Rogozhkin decides to get serious.
    • 48 Metascore
    • 70 Scott Tobias
    With the exception of Hilary Swank, whose earnestness spoils the fun, a stellar cast seems in on the joke.
    • 69 Metascore
    • 70 Scott Tobias
    An absorbing and meticulous piece of reportage.