For 1,692 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 2 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Rachel Getting Married
Lowest review score: 0 Son of the Mask
Score distribution:
1692 movie reviews
    • 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.
    • 62 Metascore
    • 60 Scott Tobias
    But de Heer's high-concept feminist tract loses some of its integrity over time, as it slowly devolves into a seedy, voyeuristic thriller that takes all too much pleasure in turning the screws.
    • 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.
    • 37 Metascore
    • 60 Scott Tobias
    Be Cool more often evokes the image of a screenwriter furiously trying draft after draft to accommodate all the stars. Accommodating the audience becomes a distant priority.
    • 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.
    • 71 Metascore
    • 60 Scott Tobias
    Both the actor and the character deserve a better movie, one that might have channeled the latter's desires into more than just a few rote genre thrills.
    • 49 Metascore
    • 60 Scott Tobias
    There's at least one good movie in The Man Who Copied's 124 minutes, but Furtado never settles on it.
    • 82 Metascore
    • 60 Scott Tobias
    Settles into pleasant monotony and repetition, without any narrative arc or purpose. Seasoned bird-watchers, however, may find that the sensory overload leaves them close to spiritual nirvana.
    • 60 Metascore
    • 60 Scott Tobias
    Farmiga and Garcia have a chemistry that’s unassuming and sneaky, and the pleasure they get from each other’s company ultimately proves infectious.
    • 61 Metascore
    • 60 Scott Tobias
    White Oleander goes through the paces with a little more dignity than usual, which is a mark of either director Peter Kosminsky's refusal to overplay the melodrama, or his inability to wring it for all it's worth.
    • 75 Metascore
    • 60 Scott Tobias
    If Pistol Opera turns out to be Suzuki's swan song, instead of just an anticlimactic comeback, no one can claim he didn't go out on his own stubborn terms.
    • 37 Metascore
    • 60 Scott Tobias
    Only God Forgives suffers from the disconnect between its stylistic high-art archness and its content’s pulp gratuitousness. Refn gives every sequence a hushed consideration, but there’s rarely a sense that he’s earned it with equivalent profundity in theme.
    • 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.
    • 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.
    • 79 Metascore
    • 60 Scott Tobias
    The film is often a rough, searching, unfocused piece of work, but at a minimum, it affirms Bell as a talent to watch both as an actress and a writer-director, one with a strong, developing comedic sensibility.
    • 63 Metascore
    • 60 Scott Tobias
    The trouble with A Cat in Paris lies not in its orchestration, which is mostly impeccable, but with what little is being orchestrated. It's well plotted but a little rote, clever but a far cry from ingenious, attractive but not particularly evocative. When it ends, it leaves behind the faintest of paw prints.
    • 41 Metascore
    • 60 Scott Tobias
    It's a tame, hypocritical fantasy.
    • 59 Metascore
    • 60 Scott Tobias
    A cluttered, awkward blockbuster that's just smart enough to get itself into trouble.
    • 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.
    • 31 Metascore
    • 58 Scott Tobias
    Working from a solid template is only half the battle; the other half is filling in the details, and it's here that The House At The End Of The Street goes flat and generic, substituting jump-scares and visual twitchiness for the psychological complexity that might have sold the horror.
    • 53 Metascore
    • 58 Scott Tobias
    Wilson and a loaded supporting cast are never as funny as they should be.
    • 43 Metascore
    • 58 Scott Tobias
    What does it all mean? Nothing much greater than the sum of its seriocomic vignettes. To that end, Women In Trouble tends to sputter to life whenever the stories get racy.
    • 69 Metascore
    • 58 Scott Tobias
    There's plenty of black comedy in their twisted affair, but a more substantial documentary wouldn't leave you smiling.
    • 61 Metascore
    • 58 Scott Tobias
    That the film works as well as it does--as an attractive, rousing time-passer for children--speaks more to the endurance of a good formula than its revitalization.
    • 57 Metascore
    • 58 Scott Tobias
    Efron is the epitome of sexless Disney heartthrobs, but he's an electrifying song-and-dance man, so much so that his castmates (Bleu excepted) look like they have concrete shoes by comparison.
    • 75 Metascore
    • 58 Scott Tobias
    Mostly, 24 City falls into the same Jia trap of inadvertently drawing the viewers' gaze past his human subjects and to the poetic images of a country in painful metamorphosis.

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