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 0.2 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Time Out
Lowest review score: 0 Bruce Almighty
Score distribution:
1,630 movie reviews
    • 52 Metascore
    • 60 Scott Tobias
    Has an exhilarating edge. It's only when they open their mouths that the movie gets into trouble.
    • 56 Metascore
    • 60 Scott Tobias
    There’s nothing out of order here—the locales are appropriately dingy and atmospheric, the lead character is compellingly rotten, the plot tightens to a vise squeeze in the third act—but every beat that isn’t provided by The The strikes exactly where it’s expected.
    • 53 Metascore
    • 60 Scott Tobias
    It's a cold-blooded business — and all sentiment aside, it's clear that Pineda is as replaceable as anyone.
    • 36 Metascore
    • 60 Scott Tobias
    Weintrob's background in interactive media keeps the film's technology unusually current, but his predictable tongue-clucking over Internet relationships places him squarely in the Luddite camp.
    • 55 Metascore
    • 60 Scott Tobias
    Born to play a Western hero, Jones sells the film's syrupy message with a soulful, wounded performance, relieved at times by his agreeably cantankerous sense of humor.
    • 64 Metascore
    • 60 Scott Tobias
    Keshales and Papushado have great filmmaking chops—as Israeli imports go, this is as far from the austere norm as it gets—but there’s a hollowness at the core of Big Bad Wolves, a creeping sense that they have no clear perspective on they mayhem they’re presenting.
    • 52 Metascore
    • 60 Scott Tobias
    Past the novelty of its conceit and casting, and the animating intelligence of its first-time director, Henry Hobson, Maggie is a bit of a drag.
    • 53 Metascore
    • 60 Scott Tobias
    The payoff may be predictable, but Banker and Everson are refreshingly unclear about how they—and viewers—feel about it. They just stay true to their protagonist’s feelings, see their premise through to the end, and leave it others to sort out. For a thesis-statement of a movie, that’s the riskiest possible conclusion.
    • 67 Metascore
    • 60 Scott Tobias
    The good news about Outrage, his grisly return to the genre, is that Kitano doesn't have to shake the rust off - his impeccable compositions and clean, minimalist sound design are still calibrated for maximum impact. Even as dozens of bodies pile up, each act of violence feels as bracing as the sound of a gunshot ripping through the night air.
    • 43 Metascore
    • 60 Scott Tobias
    Naim directs The Final Cut as if it were the pilot to a TV series: He teases the audience with all sorts of story threads, focuses on a minor self-contained mystery, and leaves the rest for future episodes that will never come.
    • 68 Metascore
    • 60 Scott Tobias
    Cullman and Grausman extend a lot of sympathy to this strange, lonely, sick man as he goes about his business. But perhaps he’d been better left alone.
    • 58 Metascore
    • 60 Scott Tobias
    There’s a sense with Jimmy P. that Desplechin and his co-screenwriters, Julie Peyr and film critic Kent Jones, are doing everything they can to steer away from contrivance and stick as closely to Devereux’s recollection as possible. What they’re left with is a rigorous, keenly intelligent therapy session that’s largely absent of dramatic tension.
    • 52 Metascore
    • 60 Scott Tobias
    Accepted as fantasy, 5 To 7 has a bright, literate charm that’s hard to resist, thanks to the scattered witticisms in Levin’s script, a deftly managed tone, and fine performances across the cast.
    • 67 Metascore
    • 60 Scott Tobias
    Ned Rifle feels closer to vintage Hartley than anything since 2001’s crazily underrated flop No Such Thing knocked him into semi-obscurity, but its dogged insularity stifles the modest pleasure of hearing the director’s distinct voice and watching his old favorites slip back into familiar roles.
    • 65 Metascore
    • 60 Scott Tobias
    A pleasantly inconsequential small-town quirkfest that's presumably more meaningful to native audiences.
    • 57 Metascore
    • 60 Scott Tobias
    With just a couple of strong casting choices and a winsome tone, an old formula can still work, and The Grand Seduction comes out of the lab with a disarming readiness to please.
    • 48 Metascore
    • 60 Scott Tobias
    The film too closely resembles what it's attempting to spoof--minus the obvious payoffs, of course.
    • 60 Metascore
    • 60 Scott Tobias
    A solid, middle-of-the-road Leonard adaptation that lacks the singularity to be something more.
    • 76 Metascore
    • 60 Scott Tobias
    For all of Audrey Tautou's considerable charm in the title role, Jeunet's need for a well-ordered universe proved as suffocating and exhausting as being trapped on an amusement-park ride.
    • 53 Metascore
    • 60 Scott Tobias
    Runs more smoothly and stylishly than the average teen comedy.
    • 60 Metascore
    • 60 Scott Tobias
    Holm carries Napoleon's regal bluster without edging into cartoonish folly, taking him seriously enough to make an absurd situation solemn, and keeping the film from winking too coyly at its audience.
    • 54 Metascore
    • 60 Scott Tobias
    Best of all is the half-surreal, half-touching scene of the couple ordering Chinese delivery - needless to say, the tip is sizable - and inviting the courier to Skype his family one last time and share in a moment of common humanity.
    • 52 Metascore
    • 60 Scott Tobias
    The great character actor Gary Cole, in particular, stands out as Bosworth's father, who tries to impress Duhamel by reading the trades, thumbing through Julia Phillips' autobiography, and donning a Project Greenlight T-shirt.
    • 72 Metascore
    • 60 Scott Tobias
    It’s a call to action in the form of an adoring profile, which is effective (and affecting) strategy, but narrow, propagandistic filmmaking.
    • 73 Metascore
    • 60 Scott Tobias
    Doesn't function nearly as well as a standalone piece, mainly because it's stuck with the thankless task of mopping up after the other two.
    • 65 Metascore
    • 60 Scott Tobias
    The Visitor is like a puzzle jammed together by a 3-year-old, with the polyglot pieces forced into place whether they fit or not. In other words, it’s an essential curiosity.
    • 60 Metascore
    • 60 Scott Tobias
    If there’s any thought to the screen musical being revived as more than a Broadway brand extension, Kendrick makes the emphatic case that she’s the star it should be built around.
    • 54 Metascore
    • 60 Scott Tobias
    The film comes to life whenever the cartoonishly vindictive Gong throws a tantrum, but she played virtually the same role in Zhang Yimou's "Shanghai Triad," which presented a far more compelling rationale for her star fits. Without her, this expensive piece of backlot pageantry turns vivid history into an ossified tchotchke.
    • 66 Metascore
    • 60 Scott Tobias
    There isn’t a bad scene in Borgman... But van Warmerdam just keeps on teasing and teasing, until the creeping suspicion sets in that teasing is all the film is going to do.
    • 81 Metascore
    • 60 Scott Tobias
    Norte is the rare film where the characters seem simpler the longer we spend time with them. They’re humans that evolve into types.

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