For 1,663 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 0.8 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Dogtooth
Lowest review score: 0 AVPR: Aliens vs Predator - Requiem
Score distribution:
1663 movie reviews
    • 72 Metascore
    • 60 Scott Tobias
    As it settles in, the thrilling chutzpah of The Blue Room’s opening salvo gets lost in the intricate curlicues of the plot, which take away much of its illicit rush.
    • 65 Metascore
    • 60 Scott Tobias
    The small grace of The Good Lie, from Monsieur Lazhar director Philippe Falardeau, is that it fully recognizes the problem of telling stories of black hardship through the prism of white charity, and does everything it can to avoid those pitfalls.
    • 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.
    • 72 Metascore
    • 60 Scott Tobias
    The film is righteous but propagandistic, gearing its considerable insight into the Deepwater disaster and its aftermath into a narrow, prodding call to arms. For a documentary wide-ranging to the point of being diffuse, the last-ditch rallying cry seems entirely out of place. It undermines its own complexity.
    • 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.
    • 72 Metascore
    • 60 Scott Tobias
    It’s undeniably moving, but straightforward to a fault.
    • 67 Metascore
    • 60 Scott Tobias
    For all the formidable intellect that went into its conceit, When Evening Falls On Bucharest has a slightness that isn’t helped much by the weight of the discussion, which occasionally presses it into a flat soufflé. But Porumboiu’s insight into the filmmaking process itself is often fascinating.
    • 69 Metascore
    • 60 Scott Tobias
    There’s a clarity to Snook’s emotional journey that’s absent from the rest of the film—a fact that’s partly deliberate, since Heinlein and the Spierigs mean to dive into the soup. But amid the murky genre experimentation, it’s a beacon of truth.
    • 74 Metascore
    • 60 Scott Tobias
    Mommy puts all its personal baggage on the table like Ally Sheedy emptying her purse in The Breakfast Club, and Dolan is to be admired for sharing so much of himself, and doing it with such evident passion. But it isn’t enough for an artist simply to share—he has to shape, too.
    • 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.
    • 60 Metascore
    • 60 Scott Tobias
    With its genuine interest in the immigrant experience and what it means to be an American, McFarland USA ekes out a victory in the margins, proving that a little openness and a little self-awareness can do wonders.
    • 77 Metascore
    • 60 Scott Tobias
    If the purpose of The Hunting Ground is to raise awareness and call viewers to action, then mission accomplished. But the tactics used are often graceless and propagandistic, and take away from the moving testimonials and the on-the-ground organization at the film’s core.
    • 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.
    • 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.
    • 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.
    • 71 Metascore
    • 60 Scott Tobias
    Searching for originality in an addiction narrative like Animals is a problem, because these stories of decline and degradation tend to sound the same. So the limited time frame is the film’s strongest asset, because it’s only paying attention to the final hours.
    • 70 Metascore
    • 60 Scott Tobias
    As a loaded summary of an important, disquieting chapter in Illinois legal history, A Murder In The Park gets the blood boiling, and suggests a justice system open to manipulation by bad actors.
    • 54 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.
    • 62 Metascore
    • 58 Scott Tobias
    It's content enough just to drink in the regional flavor, appreciate the carefree heartiness of the locals, and allows these two eccentrics to have some good times before the carriage turns into a pumpkin. The film treads lightly, but leaves little impression.
    • 59 Metascore
    • 58 Scott Tobias
    There are times when Nanny McPhee seems designed to drive all but the most sugar-crazed spazzes out of the theater: Colors that should never go together clash like a tempest, the camera whisks around in manic curlicues, and a musical score makes certain that nothing magical goes underemphasized.
    • 38 Metascore
    • 58 Scott Tobias
    Martin makes a fine Clouseau, re-energizing musty old physical gags involving chandeliers and priceless vases, and rolling his tongue around a zesty form of pidgin French. If he ever finds his Blake Edwards, there may be hope for this franchise yet.
    • 63 Metascore
    • 58 Scott Tobias
    ATL
    Ultimately, the film could stand to be more inconsequential, because whenever anything happens to move the story along, it immediately loses its laid-back Southern charm.
    • 53 Metascore
    • 58 Scott Tobias
    It's all superficially enjoyable, right up to the point where the big picture starts coming into focus and it's not worth looking anymore.
    • 50 Metascore
    • 58 Scott Tobias
    "Titanic" without the metaphors, the class-consciousness, the love story, or anything resembling a theme, Poseidon invests so little in its screenplay that it might as well be an episode of "The Love Boat" gone horribly awry.
    • 53 Metascore
    • 58 Scott Tobias
    The first of two sequels shot in immediate succession, Dead Man's Chest bears the unenviable burden of racking the pins for both movies, which leaves it with precious few opportunities to have a little fun of its own.
    • 59 Metascore
    • 58 Scott Tobias
    Rarely have Bruckheimer and Scott been so upfront about insulting people's intelligence.
    • 53 Metascore
    • 58 Scott Tobias
    It's uplifting, but shallow.
    • 43 Metascore
    • 58 Scott Tobias
    The word "slight" doesn't even begin to describe how minor the quirky indie comedy From Other Worlds turns out to be, though its sheer lack of pretension may be its greatest asset.
    • 81 Metascore
    • 58 Scott Tobias
    The film feels oddly slack and inert, livened only by testimony better suited to another forum.

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