For 1,383 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 1.4 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
Average review score: 60
Highest review score: 100 The Leopard (re-release)
Lowest review score: 0 From Justin to Kelly
Score distribution:
1,383 movie reviews
    • 49 Metascore
    • 40 Scott Tobias
    Amid all the excess busyness, there are formulas within formulas.
    • 44 Metascore
    • 40 Scott Tobias
    This ultimately isn’t a film about human fallibility, but about high-concept grotesquerie for its own sake.
    • 44 Metascore
    • 40 Scott Tobias
    Transcendence wants to use this future panic to comment meaningfully on our current interconnectedness and inorganic lifestyle, but it’s screaming too much to have that conversation.
    • 18 Metascore
    • 33 Scott Tobias
    With minimal flare and maximal gore, Boll simply delivers the turgid drama and incompetently staged action sequences that have made him the unstoppable Big Boss of the gaming community.
    • 43 Metascore
    • 33 Scott Tobias
    Okay, so when does the fun start?
    • 45 Metascore
    • 33 Scott Tobias
    Though he labors endlessly to account for her behavior, which is explained away by flashbacks to her decadent parents and a glamorous mother-figure played under Vaseline lens by an uncredited Sandra Bullock, Bacon fails to make her seem human.
    • 37 Metascore
    • 33 Scott Tobias
    Arriving late to the scene, Another Gay Movie coughs up the same awkward gags about coming of age via false starts and sexual humiliation, only the genuine sweetness and camaraderie that made the first "Pie" movie bearable has been replaced by glib self-awareness.
    • 48 Metascore
    • 33 Scott Tobias
    Stiller's continued efforts to court the broadest possible audience has taken the edge off his comedy. Whenever he shares screen time with Williams, it looks like the grim future he's mapping out for himself.
    • 35 Metascore
    • 33 Scott Tobias
    If there were a shred of sincerity to its straight-faced exposé of African strife, the film would be easier to forgive, but since it's really just a cheap horror-thriller about an ancient predator, the austere tone does it no favors.
    • 25 Metascore
    • 33 Scott Tobias
    Krasinski knows how to play off Williams--his pained looks are all too appropriate in the face of Williams' desperate shtick--but it's disillusioning to see him here, because he seems too smart for this film.
    • 41 Metascore
    • 33 Scott Tobias
    Thornton is one of America's finest actors, but after this, "Bad News Bears," and "School For Scoundrels," his run of loveably irascible authority-figure roles should probably come to a close. He's kicked around one child too many.
    • 47 Metascore
    • 33 Scott Tobias
    The emotions at play in Bella are no doubt heartfelt--and must have resonated with a few hundred people, anyway--but they're so cut-and-dried that the mawkish script virtually writes itself.
    • 49 Metascore
    • 33 Scott Tobias
    No doubt the list of talent involved in this remake sounded great, but the project hasn't been thought through as anything more than an arch exercise in style. And even in that trifling end, it fails utterly.
    • 33 Metascore
    • 33 Scott Tobias
    Only the so-bad-it's-good crowd need apply.
    • 32 Metascore
    • 33 Scott Tobias
    It's a measure of the film's lack of imagination that Morris Chestnut, as an aspiring songwriter logging time as a mall Santa, can't even think of a good fake occupation.
    • 31 Metascore
    • 33 Scott Tobias
    Taken together, these stories are a symphony of inconsequentiality, drained of tension and purpose until all that remains is a vague sense of collective ennui.
    • 34 Metascore
    • 33 Scott Tobias
    Dane Cook plays a smug jerk in the dismal comedy My Best Friend's Girl. Strike that: He's only ACTING like a smug jerk.
    • 35 Metascore
    • 33 Scott Tobias
    The film looks to do for reflective surfaces what "Amityville 4" did for killer lamps.
    • 17 Metascore
    • 33 Scott Tobias
    It takes guts to remake what many believe to be Hitchcock's first masterpiece, but what Ondaatje's done with The Lodger could not be mistaken for ambition.
    • 42 Metascore
    • 33 Scott Tobias
    It's now a straight-up crime and retribution flick, capped off by the dumbest wolf-feeding coda a 13-year-old ever dreamed up.
    • 50 Metascore
    • 33 Scott Tobias
    Nowrasteh constantly overplays his hand, not realizing that some horrors speak for themselves.
    • 23 Metascore
    • 33 Scott Tobias
    Features a running gag about a little boy in the midst of potty training who doesn’t always go where it’s appropriate. In a nutshell, that subplot explains everything that’s wrong about the film.
    • 47 Metascore
    • 33 Scott Tobias
    Cody’s script fails in the fundamentals.
    • 45 Metascore
    • 33 Scott Tobias
    The characters in The Burning Plain are so narrowly defined by tragedy that they reveal no other facets of humanity.
    • 31 Metascore
    • 33 Scott Tobias
    With Cop Out, Smith works from a script other than his own for the first time--this one penned by siblings Mark and Robb Cullen--but his slack direction siphons the energy out of this tongue-in-cheek throwback to ’80s mismatched-buddy comedies.
    • 42 Metascore
    • 33 Scott Tobias
    Few of the scenes in The Perfect Game feel authentic, but the ones in Monterrey are especially lacking in flavor.
    • 47 Metascore
    • 33 Scott Tobias
    Bratt’s character is stuck in old ways of thinking, and the movie, for all its well-meaning social intent, is right there with him.
    • 52 Metascore
    • 33 Scott Tobias
    On balance, more dignity is lost than gained.
    • 49 Metascore
    • 33 Scott Tobias
    Disney has once again constructed a digital environment out of cutting-edge special effects, only this time, it isn't merely silly; it's as dry and talky as a PBS panel show.
    • 51 Metascore
    • 33 Scott Tobias
    Spacey has made a career out of projecting the smarmy elitism of the powerful, but Casino Jack is so painfully clunky that he gets dragged down along with it.
    • 37 Metascore
    • 33 Scott Tobias
    It's loud, relentless, and difficult to endure, capturing the experience of ground-level alien warfare with woeful verisimilitude.
    • 28 Metascore
    • 33 Scott Tobias
    The film is curiously sterile and lifeless, hardly the stuff of revolution. It feels more like an ideologically reversed "Tucker: The Man And His Dream," written and performed by robots.
    • 39 Metascore
    • 33 Scott Tobias
    A film so utterly lacking in conviction, it needs a 25-year-old Tom Cruise vehicle just to keep its spine straight.
    • 43 Metascore
    • 33 Scott Tobias
    Monte Carlo finally resolves itself in a farcical climax that at least shows a little energy, but it isn't enough to overcome the discomfiting tensions and indifferent formula filmmaking that plagues nearly every scene.
    • 62 Metascore
    • 33 Scott Tobias
    The whole thing is rigged for crowd-pleasing payoffs - a bit about chocolate pie gets more mileage than a Prius - and those payoffs are about honoring white viewers for not being horrible racists. Kudos to them.
    • 40 Metascore
    • 33 Scott Tobias
    As the plot unfolds, brick by brick, the structure starts to wobble until it finally collapses into unintentional comedy.
    • 44 Metascore
    • 33 Scott Tobias
    The indie rom-com/sitcom L!fe Happens is a case study in how bad movies can turn an ordinary, relatable situation into a grotesque distortion with only a passing resemblance to the way actual human beings live and interact with each other.
    • 38 Metascore
    • 33 Scott Tobias
    Writer-director Mary Harron, a supremely intelligent adaptor who did wonders with the screen version of Bret Easton Ellis' "American Psycho," simply doesn't have the chops to give this story the florid kick it needs.
    • 43 Metascore
    • 33 Scott Tobias
    Director Rob Whitehair doesn't do much to complicate what's essentially a promotional featurette for Wiede and Tucker's Wild Sentry organization, presenting the anti-wolf faction as rabid, irrational, and extreme. But he can't be blamed for wanting to stoke the drama a little: Without it, True Wolf would be a lesson in the care and feeding of an exotic pet.
    • 43 Metascore
    • 33 Scott Tobias
    These are all legitimate concerns, which Navarro supports with testimony from economists, politicians, union leaders, and businesspeople, but they're undermined at every point by a sky-is-falling hysteria that registers as white noise. It's the documentary equivalent of a raving street-corner derelict.
    • 31 Metascore
    • 33 Scott Tobias
    Red Dawn without the jingoism is like a pie without the filling - it collapses into splintered mush.
    • 34 Metascore
    • 33 Scott Tobias
    The cutaways to this cop-on-the-edge plot are jarring and lacking in conviction, and when the whole tortured mess comes together in a twist-filled third act, Safe Haven becomes a full-blown calamity.
    • 48 Metascore
    • 30 Scott Tobias
    It reduces a large cast to an unwieldy collection of simpletons and caricatures.
    • 49 Metascore
    • 30 Scott Tobias
    Channels Toback in his purest form, which will probably be a treat for auteurists and a headache for just about everyone else.
    • 48 Metascore
    • 30 Scott Tobias
    A major disappointment that lacks the courage to follow through on its premise's themes.
    • 48 Metascore
    • 30 Scott Tobias
    Impossible to swallow as truth, this Rambo treatment is equally hard to enjoy as escapism.
    • 34 Metascore
    • 30 Scott Tobias
    In Dead Or Alive: Final, Miike trades his grimly comic, sex-and-blood insignia for a self-consciously wacky conflation of Hong Kong action cinema and Japanese anime, with a little cheap science fiction tossed in for good measure.
    • 38 Metascore
    • 30 Scott Tobias
    An aggressive black comedy that seeks to satisfy a bloodlust already quelled many times over.
    • 54 Metascore
    • 30 Scott Tobias
    LaPaglia brings the hero into a world of greed and compromised values, but his fork-tongued monologues aren't remotely seductive, which makes the ending a foregone conclusion.
    • 23 Metascore
    • 30 Scott Tobias
    Too often, Formula 51 fails to differentiate between gleeful excess and white noise.
    • 36 Metascore
    • 30 Scott Tobias
    In the absence of sincerity, Cletis Tout creates a vacuum that flushes out the entire story, leaving nothing but its own hollow cleverness.
    • 31 Metascore
    • 30 Scott Tobias
    Lawrence clamors for the spotlight. If he ever found a way to make desperation look like charisma, he'd be the funniest man in America.
    • 35 Metascore
    • 30 Scott Tobias
    Basically a prim, desexualized "Carrie," told from the prom date's perspective and featuring Peter Coyote in the Piper Laurie role.
    • 38 Metascore
    • 30 Scott Tobias
    Bad Boys II is the rare case in which escapism involves leaving the theater.
    • 32 Metascore
    • 30 Scott Tobias
    De Niro and Murphy are visibly uncomfortable with each other. Their improvisation seems chaotic and mismanaged, and the movie follows in kind.
    • 42 Metascore
    • 30 Scott Tobias
    A deadly earnest, relentlessly solemn affair.
    • 52 Metascore
    • 30 Scott Tobias
    There's no forgiving the home-movie slackness of Greendale for its numbing dearth of imagination.
    • 32 Metascore
    • 30 Scott Tobias
    Opens with its snazziest effects sequences and gets cheaper from there, as if studio executives were constantly scaling back the budget as the filmmakers went along.
    • 34 Metascore
    • 30 Scott Tobias
    Nothing is more dangerous than a sequel to a wildly successful awful movie, because the artisans involved have to preserve the franchise, which means honoring the original formula as if it were a cure for cancer.
    • 43 Metascore
    • 30 Scott Tobias
    The only redeeming moments come from Walken, whose assured, effortless screen presence stands out from his faceless co-stars. Taped to a leather chair and bleeding profusely from a severed finger, he's still the most powerful person in the room.
    • 54 Metascore
    • 30 Scott Tobias
    Everly tries to patch together a profile out of borrowed news clips and shoddy videography. In the process, Frank's charisma and force never emerge.
    • 46 Metascore
    • 30 Scott Tobias
    Saw
    Though dumber than a box of rocks, Saw forges ahead with the kind of conviction and energy that will keep bad-cinema junkies sitting bolt upright.
    • 39 Metascore
    • 30 Scott Tobias
    Stone has made an excruciating disaster for the ages.
    • 55 Metascore
    • 30 Scott Tobias
    Chadha doesn't seem at home with either Austen or Bollywood, and her ambitions far exceed her competence in the song-and-dance numbers, which are a clutter of stiff choreography and silly original lyrics.
    • 44 Metascore
    • 30 Scott Tobias
    Though serviceable as a primer on Soviet history under Stalin, the film's sloppy assemblage of dull interviews and stock footage never comes close to illuminating a life that the Russian people have long cherished as a precious enigma.
    • 47 Metascore
    • 30 Scott Tobias
    In reviving the beloved Disney property, Robinson attempts to resuscitate the fast-motion shots and sub-Three Stooges physical comedy of classic Herbie, but the new model seems distantly related to the innocent, peppy little car of old.
    • 43 Metascore
    • 30 Scott Tobias
    Between the performances in the bedroom and on stage, 9 Songs gives off plenty of heat, but the whole project seems half-thought-out and hastily arranged, hampered by butt-ugly DV photography that turn skin tones grimy and make the Brixton scenes look as high-grain as a bowl of Mueslix.
    • 37 Metascore
    • 30 Scott Tobias
    Wiig’s new comedy sulks limply along with her, unable to bring the kind of energy that might complement her tendency to underplay every scene.
    • 23 Metascore
    • 30 Scott Tobias
    It couldn’t be a simpler, more workable premise for a good B-movie, but the amount of effort put into making it fast and edgy is inversely proportional to the scant thrills it yields.
    • 49 Metascore
    • 30 Scott Tobias
    Afternoon Delight is one of those bad films that seem to drift further and further away from a recognizable reality the more we get to know it.
    • 38 Metascore
    • 30 Scott Tobias
    Free Birds feels like Hollywood brining small children for the blockbusters they’ll pay to see when they’re older. It’s littered with quips, but the film puts a premium on loud, effects-driven action that mistakes nonstop intensity for cartoony entertainment.
    • 27 Metascore
    • 25 Scott Tobias
    The original should have been a short film; the new version shouldn't exist at all.
    • 29 Metascore
    • 25 Scott Tobias
    Just My Luck, a lazy spitballing session of karmic humor, hinged on the sort of generic rom-com contrivances that keep movies like these from ending at a reasonable time.
    • 64 Metascore
    • 25 Scott Tobias
    The only rational explanation for how an abysmal no-budget film like Cavite could get released theatrically is that its makers, co-writer/directors Ian Gamazon and Neill Dela Llana, have come up with a from-the-headlines hook too big to deny.
    • 42 Metascore
    • 25 Scott Tobias
    It shouldn't be surprising that writer-director Steve Oedekerk, the man responsible for "Kung Pow! Enter The Fist" and the second "Ace Ventura" movie, considers single-celled organisms as he shoots for the lowest common denominator.
    • 30 Metascore
    • 25 Scott Tobias
    Crossover doesn't have the competence to make it exciting or the desire to explore what's really at stake for these players.
    • 32 Metascore
    • 25 Scott Tobias
    Country Music Television's answer to "Elizabethtown."
    • 52 Metascore
    • 25 Scott Tobias
    Even with a wild card like Black desperately retooling his lines, there's nothing authentic or personal about The Holiday--it's as chilling as heart-warmers get.
    • 22 Metascore
    • 25 Scott Tobias
    Seems to go out of its way to obliterate all the elements that made the original so special.
    • 27 Metascore
    • 25 Scott Tobias
    Abysmal.
    • 32 Metascore
    • 25 Scott Tobias
    Assembles the most motley group of incompetents this side of a "Police Academy" movie, yet somehow misses the laughs. But humorlessness is probably the least of the film's problems, lagging behind amateur-night performances from the no-name cast, a homogenous visual palette (and from a music-video director, no less!), and lots of pointless sadism.
    • 37 Metascore
    • 25 Scott Tobias
    It goes without saying that Evan Almighty, a kid-friendly follow-up to the Jim Carrey vehicle "Bruce Almighty," is more Ronald McDonald than Holy Bible, but it didn't have to be this epically trite.
    • 24 Metascore
    • 25 Scott Tobias
    In a genre where killers love to play head games, it's a clever idea (Cohen's?) to have this one remain mute, but that leaves Cuthbert to carry much of the psychological load, and there's no substance to her character, apart from the suggestion that she's being punished for her vanity.
    • 19 Metascore
    • 25 Scott Tobias
    There's an audience out there for this kind of thing--Cook is obviously a populist, and Norbit made bushels of money--but if this is what passes for funny, what in the world of comedy DOESN'T qualify?
    • 25 Metascore
    • 25 Scott Tobias
    Ritchie has said that it takes several viewings to fully understand what's going on in Revolver, but once will be enough for most to agree to take his word for it.
    • 15 Metascore
    • 25 Scott Tobias
    Cultists will be happy to discover that In The Name Of The King bears all the so-bad-it's-good hallmarks of a classic Boll production.
    • 45 Metascore
    • 25 Scott Tobias
    Currently stopping by theaters briefly en route to DVD, the film tries to position Jameson as the next Linnea Quigley, the B-movie queen behind such enduring titles as "Hollywood Chainsaw Hookers" and "Sorority Babes In The Slimeball Bowl-O-Rama."
    • 35 Metascore
    • 25 Scott Tobias
    To think that a semi-major studio financed a production this low-rent and listless is amazing: Since when did MGM start making student films?
    • 26 Metascore
    • 25 Scott Tobias
    Madonna presents the three leads as flawed but essentially decent and redeemable, but they're bound up in a story that's meant to affirm a vague set of values. If she needs to justify the "Sex" book by charting her own contrived path from filth to heavenly wisdom, that's fine. But she should do it on her own time.
    • 33 Metascore
    • 25 Scott Tobias
    Sandler’s laziness, sloppiness, and cynical pandering are all over Bedtime Stories, and it turns what’s intended to be a graceful intersection of fairytale whimsy and real-world slapstick into an ugly, head-on collision.
    • 25 Metascore
    • 25 Scott Tobias
    Doing his best to class up the joint, "The Wire's" Idris Elba stars as the perfect man.
    • 28 Metascore
    • 25 Scott Tobias
    The sort of rom-com apparatus that no relationship can overcome.
    • 38 Metascore
    • 25 Scott Tobias
    Any resemblance the film bears to real people and real situations is purely coincidental.
    • 32 Metascore
    • 25 Scott Tobias
    There’s hardly an authentic second in the film.
    • 42 Metascore
    • 25 Scott Tobias
    It’s a busier and less coherent film, too, with a baffling master plot and a crowded pileup of special effects in search of something to do.
    • 54 Metascore
    • 25 Scott Tobias
    Though he commits to a lot of embarrassing silliness, Murphy projects so little genuine warmth that his transformation barely registers.
    • 53 Metascore
    • 25 Scott Tobias
    Sports movies have a long, troubled history of well-meaning white paternalism, with poor black athletes finding success through white charity. But The Blind Side, based on Michael Lewis’ non-fiction book, finds a new low.
    • 34 Metascore
    • 25 Scott Tobias
    A flagrantly ridiculous thriller that tries to retrofit "Saw" to function as a mainstream, semi-respectable vigilante picture
    • 22 Metascore
    • 25 Scott Tobias
    Tennant and his actors have done the bare minimum to carry their lifeless movie past the finish line, and their apathy reads a lot like contempt.
    • 46 Metascore
    • 25 Scott Tobias
    Baruchel and Eve never shed that awkward first-date chemistry, which speaks less to their talents or the possibilities of mismatched romance than to a movie that forces them together like animals being mated in captivity.
    • 33 Metascore
    • 25 Scott Tobias
    Offers a taming-of-the-shrew scenario so relentlessly bland and old-fashioned it makes "Dear John," the Sparks adaptation from two months ago, look like "Last Tango In Paris."
    • 44 Metascore
    • 25 Scott Tobias
    There isn’t a whiff of humility or self-deprecation to Clay, Roque, Jensen, Cougar, and Pooch, a collection of black-ops douchebags and our ostensible heroes.
    • 33 Metascore
    • 25 Scott Tobias
    With every project, he pops open the same trunkload of shtick and leaves everyone to argue over whether it’s art. It’s a win-win situation for Korine, who’s either a genius or a provocateur who’s succeeded in gaming his stuffy critics.
    • 30 Metascore
    • 25 Scott Tobias
    It's a big-hearted, well-intentioned disaster.
    • 21 Metascore
    • 25 Scott Tobias
    Killers isn’t an entertainment, it’s a high-speed spat.
    • 44 Metascore
    • 25 Scott Tobias
    Perhaps someday, in the greatest twist of all, Shyamalan will be remembered as the Hitchcock of the early 21st century. Until then, movies like Devil will be misunderstood as schlock.
    • 27 Metascore
    • 25 Scott Tobias
    Not surprisingly, the remake gussies up the grindhouse roughness of the first film, which makes it relatively more palatable-yet still vapid and repulsive-while also, in a perverse way, selling it out.
    • 39 Metascore
    • 25 Scott Tobias
    It's neither remotely convincing as true-to-life drama or lurid and propulsive enough to work as exploitation. It's just bad.
    • 35 Metascore
    • 25 Scott Tobias
    The best that could be said of Yogi Bear is that it doesn't diminish its source material.
    • 27 Metascore
    • 25 Scott Tobias
    When the conclusion leaves the door open for still another sequel, it feels like an invitation to a living wake.
    • 23 Metascore
    • 25 Scott Tobias
    A deplorable unofficial reworking of "Single White Female."
    • 27 Metascore
    • 25 Scott Tobias
    When the material gets really bad, as it does in the dismal Did You Hear About The Morgans?, Grant's pinched facial expressions become an inadvertent commentary on the movie he's making, as if he plainly realizes that his one-liners are tanking.
    • 37 Metascore
    • 25 Scott Tobias
    Not a second of it is convincing - or compelling - but then the film is about "utopia," a blandly idealized place unblemished by hardship, malice, sin, or errant golf strokes.
    • 31 Metascore
    • 25 Scott Tobias
    Given the creepiest rom-com premise this side of "Addicted To Love" - which at least had the wisdom to reflect on its camera-obscura voyeurism - director McG tries to turn This Means War into a cool pop confection along the lines of his Charlie's Angels movies. But pouring on the douchey hipness and charm only makes things worse.
    • 34 Metascore
    • 25 Scott Tobias
    ATM
    No, the indie horror movie ATM is not about a psychotic automated teller that charges the steepest of convenience fees - your life! - but it isn't much smarter than that premise, either.
    • 25 Metascore
    • 25 Scott Tobias
    Gallagher briefly threatens to turn Smiley into something closer to the hallucinatory psychological horror of "Repulsion," but he retreats to the more conventional twists and jump-scares expected of bottom-of-the-barrel slasher films like this one. This film will not do for the Internet what "Psycho" did for showers - no more computers have to be smashed because of it.
    • 35 Metascore
    • 25 Scott Tobias
    An abysmal sequel that abandons the found-footage concept, along with the pockets of wit and originality that made its predecessor salvageable.
    • 41 Metascore
    • 25 Scott Tobias
    Nearly everything that happens in Olympus Has Fallen is ludicrous, yet because the fate of the president and the nation hangs in the balance, the crisis is treated with the gravitas of Paul Scofield at the West End.
    • 70 Metascore
    • 20 Scott Tobias
    Debrauwer's characterization is as sharp and incisive as a butter knife.
    • 66 Metascore
    • 20 Scott Tobias
    Despite her healthy fan base, Notorious C.H.O. looks like the dead-end to a limited repertoire.
    • 49 Metascore
    • 20 Scott Tobias
    Major characters drop in and out of sight, WWII begins and ends without much fanfare, and full decades pass in the space of a few cuts.
    • 51 Metascore
    • 20 Scott Tobias
    It's hard to fathom what they intended for this forgettable group of lonelyhearts, other than to choreograph a whopping 14 happy endings at once--all of them forced, none of them earned.
    • 35 Metascore
    • 20 Scott Tobias
    Perhaps due to the talent of everyone involved, Dreamcatcher moves with an oddly exhilarating awfulness that sets it apart from more run-of-the-mill horror films, which lack the imagination and budget to be so thoroughly misconceived.
    • 18 Metascore
    • 20 Scott Tobias
    Ritchie's frivolous comedy tries to have it both ways, thinning out the material for mass consumption while still sticking to the script -- an unstable alchemy that backfires horribly.
    • 62 Metascore
    • 20 Scott Tobias
    Directed without a shred of imagination by Denzel Washington -- Antwone Fisher masks a behind-the-scenes story that's far more inspiring than the phony uplift that makes it onto the screen.
    • 29 Metascore
    • 20 Scott Tobias
    It's hard to imagine a more ill-advised choice of source material.
    • 44 Metascore
    • 20 Scott Tobias
    Estela Bravo's disgraceful documentary Fidel could have been financed by the man himself.
    • 31 Metascore
    • 20 Scott Tobias
    Brazenly ridiculous.
    • 25 Metascore
    • 20 Scott Tobias
    Awash in cheap shocks and corny sentiment, Dragonfly aspires to be an inspirational thriller about one man's spiritual journey, but it takes little time for him to reach his destination. All that's left for him and the audience to do is solve a riddle unfit for the back of a cereal box.
    • 49 Metascore
    • 20 Scott Tobias
    Includes a few half-hearted ironies about how people are really serving dogs, not the other way around, but even those gags are cribbed from a retired Seinfeld routine.
    • 45 Metascore
    • 20 Scott Tobias
    Stranding an able supporting cast in mostly disposable roles--including Jacqueline Bisset, Mary Kay Place, Joseph Gordon-Levitt, and Amber Benson--Cox writes himself into several corners, then plots honking contrivances to get out of them.
    • 58 Metascore
    • 20 Scott Tobias
    Swarming with zombies on both sides of the camera, the film is unrelentingly relentless, leaving no room for original director George Romero's wry satire on consumerism or his slow-paced, creeping undead.
    • 28 Metascore
    • 20 Scott Tobias
    Adored stands at the crossroads where Telemundo and beefcake magazines collide, but for strangers to that intersection, the film's camp value is exceeded only by its tedium.
    • 58 Metascore
    • 20 Scott Tobias
    Deeply personal and deeply silly.
    • 39 Metascore
    • 20 Scott Tobias
    There's hardly a character, plot twist, or musical theme in the whole enterprise that isn't primed to go straight for the tear ducts, as if Johnson assumes that his audience is incapable of mounting a defense.
    • 31 Metascore
    • 20 Scott Tobias
    It sends a bad message to the film's young audience that the daughter of a world leader needn't be more than a vapid bikini-stuffer.
    • 33 Metascore
    • 20 Scott Tobias
    Dreadful.
    • 55 Metascore
    • 20 Scott Tobias
    Inept.
    • 36 Metascore
    • 20 Scott Tobias
    The whole three-ring circus winds up in a church for a redemptive finale, but by then, Diary has committed too many sins for even the most generous soul to offer salvation.
    • 34 Metascore
    • 20 Scott Tobias
    Even as sequels to bad comedies go, Miss Congeniality 2 seems completely at a loss for fresh ideas.
    • 49 Metascore
    • 20 Scott Tobias
    Four Brothers regresses into gallows comedy, rampant misogyny, and one preposterous Hollywood action setpiece after another.
    • 26 Metascore
    • 20 Scott Tobias
    Since the focus is on the track, the filmmakers aren't out to reinvent the wheel, but for such a simple piece of formula storytelling, they do a remarkably poor job of dotting I's and crossing T's.
    • 41 Metascore
    • 20 Scott Tobias
    The tease of 50 gorgeous women fighting to the death has a classic grindhouse appeal, but Raze is strictly a “be careful what you wish for” proposition.
    • 37 Metascore
    • 16 Scott Tobias
    The result is unfit for humankind.
    • 17 Metascore
    • 16 Scott Tobias
    There's really nothing much to Prom Night: No twists, no atmosphere, no big Grand Guignol setpieces, not a single moment when it tries to do something novel with the event, the killings, the villain, or the victims. It's a little like going on a tour of the slaughterhouse, where death is meted out with mechanical regularity, but visitors are kept at a safe, PG-13 distance from all the butchering.
    • 30 Metascore
    • 16 Scott Tobias
    If Grown Ups were any lazier or more slapdash, it'd be a home movie.
    • 37 Metascore
    • 16 Scott Tobias
    In many ways, the film is history repeating itself, as the same Weinstein brothers who famously dropped $10 million on "Happy, Texas" in 1999 have overpaid again for "Happy, Texas 2."
    • 23 Metascore
    • 16 Scott Tobias
    What makes Jack And Jill worse than the average Sandler vehicle is Jill, who's been conceived as little more than a dude in drag, hold the jokes.
    • 9 Metascore
    • 16 Scott Tobias
    There's an opportunity here for screenwriter Marek Posival and director Robert Lieberman to play up the squeamishness of upper-middle-class torturers who don't fit the profile, but they're too busy tending to horror-thriller clichés.
    • 27 Metascore
    • 16 Scott Tobias
    The film is a bedroom farce without the farce, a fish-out-of-water comedy on sun-cracked lake-bed, a story of fatherly redemption that barely gets past the hair-mussing stage.
    • 13 Metascore
    • 10 Scott Tobias
    A lurid, unsavory mix of Reefer Madness hysteria, drive-in sleaze, and the queasy morality of '80s slasher film.
    • 36 Metascore
    • 10 Scott Tobias
    Kedma makes for a clumsy, lugubrious history lesson.
    • 36 Metascore
    • 10 Scott Tobias
    Looks like a cheap polyester suit, an entirely synthetic composite of scenes from other movies.
    • 26 Metascore
    • 10 Scott Tobias
    An inexplicable and disastrous mismatch of sensibilities.
    • 18 Metascore
    • 10 Scott Tobias
    Misbegotten late-summer special.
    • 23 Metascore
    • 10 Scott Tobias
    Powered by dim bulbs on both sides of the camera, Darkness Falls barrels ahead with unrelenting stupidity, forsaking many of its own rules in search of the next cheap shock.
    • 55 Metascore
    • 10 Scott Tobias
    Represents apple-pie mythmaking at its most insidiously thoughtless.
    • 36 Metascore
    • 10 Scott Tobias
    Lucky Bastard mostly combines the worst of all worlds: the less-clever-than-it-thinks script of old-school porn, the piercing brightness and flatness of video production, an especially lackluster rendering of the played-out found-footage horror concept.
    • 13 Metascore
    • 10 Scott Tobias
    Like sunrise over a steaming pile of garbage, A Haunted House 2 offers another sharp whiff of its predecessor, a Scary Movie-style spoof of the Paranormal Activity movies that makes up in volume what it lacks in invention.
    • 19 Metascore
    • 0 Scott Tobias
    Stultifying.
    • 14 Metascore
    • 0 Scott Tobias
    More than anything, From Justin To Kelly needs Simon Cowell, the fork-tongued Idol judge who gives the show its only sliver of tension.
    • 46 Metascore
    • 0 Scott Tobias
    Even the most narcissistic jerk, like the one played by Jim Carrey in the loathsome comedy Bruce Almighty, would be expected to dream up untold pleasures for himself, acting as a self-serving genie with infinite wishes.
    • 34 Metascore
    • 0 Scott Tobias
    Save for the diminished allure of drunk, naked hotties, there's nothing of worth in The Real Cancun.
    • 20 Metascore
    • 0 Scott Tobias
    No doubt extensive market research shows that there's an audience out there for movies like Son Of The Mask, but it's too depressing to speculate who that might be.
    • 11 Metascore
    • 0 Scott Tobias
    It's kind of amazing that a joke-a-second comedy like Date Movie doesn't contain a single laugh.
    • 27 Metascore
    • 0 Scott Tobias
    There's enough material here to add another hour to Spike Lee's "reel of shame" in "Bamboozled," but hideously offensive black stereotypes are merely the tip of the iceberg.
    • 29 Metascore
    • 0 Scott Tobias
    A tasteless, witless, mindlessly perfunctory bloodbath that has the discourtesy to take itself seriously. Pitting aliens against predators may be the height of frivolity, but God forbid anyone have fun with it.
    • 28 Metascore
    • 0 Scott Tobias
    Cameron acts like a childish jerk, even in the reconciliation phase, and the underlying reason is that he--and the movie--hates women.
    • 31 Metascore
    • 0 Scott Tobias
    On the off chance that anyone out there would want to spend time with guys like this—and would appreciate a bonus plug for Staples' recycled paper products, too--this movie has been made just for them.
    • 33 Metascore
    • 0 Scott Tobias
    Walsh is just a dumb bully who can’t see more than one or two steps ahead. He’s doomed to generic slasher villainy, and the film thoughtlessly obliges.
    • 30 Metascore
    • 0 Scott Tobias
    And it's still, in the spirit of the original film, an unbelievable piece of sh--.
    • 46 Metascore
    • 0 Scott Tobias
    It will always be "too soon" for Extremely Loud And Incredibly Close, which processes the immense grief of a city and a family through a conceit so nauseatingly precious that it's somehow both too literary and too sentimental, cloying yet aestheticized within an inch of its life.
    • 26 Metascore
    • 0 Scott Tobias
    The specific problem with Part II is that a second act of huffery and puffery don't get it anywhere.