For 1,632 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 0.1 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Meek's Cutoff
Lowest review score: 0 United Passions
Score distribution:
1,632 movie reviews
    • 55 Metascore
    • 58 Scott Tobias
    The inevitable breakdown on this commercial façade might have led The Joneses into more disturbing territory, but Borte goes the other direction, away from jagged comedy and toward well-meaning homilies. No sale.
    • 56 Metascore
    • 58 Scott Tobias
    W.
    Stone paddles down the giant river of Bush's life without exploring any of the tributaries; he passes by two or three dozen better movies along the way.
    • 49 Metascore
    • 58 Scott Tobias
    Like so many late-period Allens, it leaves behind the feeling that he's made this movie before, but better.
    • 69 Metascore
    • 58 Scott Tobias
    So why, given its moment-to-moment surplus of visual imagination, does the film feel so hollow and unsatisfying?
    • 55 Metascore
    • 58 Scott Tobias
    Any proper adaptation of Dark Shadows, even one that acknowledges and celebrates its camp silliness as much as Burton's does, has to immerse itself in soap opera, too, and it's here that the director's lack of conviction becomes apparent.
    • 58 Metascore
    • 55 Scott Tobias
    Heartless seems eternally at war with its own genre, unwilling to succumb to bloody mayhem yet neither smart nor coherent enough to transcend horror convention.
    • 58 Metascore
    • 55 Scott Tobias
    On a technical level, The Tree marks a significant advance over the humble utility of Bertuccelli's previous film, drinking in Australia's pastoral majesty with an abundant eye for beauty that falls just short of the intended poetry. Yet the characters aren't nearly as resonant.
    • 51 Metascore
    • 55 Scott Tobias
    Whatever lizard-brain fun might have been had in watching Johnson do battle against a drug cartel is weakened by the occasional hard tug at the social conscience. The film winds up divided against itself.
    • 63 Metascore
    • 55 Scott Tobias
    Rio
    Name the first things that come to anyone's mind about Rio de Janeiro - samba, soccer, sunbathing, Carnival - and those are the building blocks of this movie. Expect the expected.
    • 53 Metascore
    • 55 Scott Tobias
    Once the colorful anecdotes sprawl out into an actual narrative, the film gets convoluted and loud, amplifying the weirdness without doing much to clarify it.
    • 52 Metascore
    • 55 Scott Tobias
    There's a better documentary to be carved out of Hit So Hard, but not necessarily a great one, because the gossip and drug-fueled capers offered up by Love are simply more compelling than the tremulous course of Schemel's life. Here, as then, Schemel plays backup to history.
    • 64 Metascore
    • 55 Scott Tobias
    But a few mild misgivings aside, Spurlock has made, in essence, a 90-minute promo reel for the convention, a paean to fanboy (and fangirl) enthusiasm that could double as an orientation video, if such a thing were necessary. It's a brisk and cheery overview, sweet but superfluous.
    • 51 Metascore
    • 55 Scott Tobias
    Nothing about it lingers, not even the sulfuric stench of a bum scene or a particularly hammy performance.
    • 55 Metascore
    • 55 Scott Tobias
    So long as Exporting Raymond sticks to the headaches of adapting Everybody Loves Raymond into Everybody Loves Kostya, it's a funny and revealing look at the immense chasm between the two cultures.
    • 53 Metascore
    • 55 Scott Tobias
    Delicacy is phony in ways that might seem drearily familiar to audiences weaned on American romantic comedies.
    • 55 Metascore
    • 50 Scott Tobias
    It's a beautiful mess, but it's a mess all the same.
    • 39 Metascore
    • 50 Scott Tobias
    Director Jeff Wadlow and screenwriter Chris Hauty are so committed to following through on the "Karate Kid" formula that they don't care for novelty; it's enough for them just to hit their cues and play up the slo-mo MMA brutality. In the future, movies this derivative will be made by robots.
    • 50 Metascore
    • 50 Scott Tobias
    “My Life Directed” is mostly disposable, just the sort of home-movie project a restless artist might sketch while stuck in a hotel room for a few months. It’s not a movie so much as a cry for help.
    • 56 Metascore
    • 50 Scott Tobias
    Donaldson and his battery of screenwriters aim for nothing more than a coolly efficient thrill machine, but the mechanics break down in the end, foiled by a "whodunit" twist that's telegraphed early in the first reel. Careening forward without any real purpose, the film simply flies off the rails.
    • 69 Metascore
    • 50 Scott Tobias
    The trouble with artists making documentaries about other artists is that art tends to get in the way.
    • 64 Metascore
    • 50 Scott Tobias
    Like many stylish, whipcrack American and British indies made in the wake of Quentin Tarantino and "Trainspotting," the film gets off on the same anything-can-happen storytelling brio, which at least keeps things lively. But without any resonant characters or ideas, it's all empty calories.
    • 47 Metascore
    • 50 Scott Tobias
    If her adoring public doesn't mind paying for the same movie twice, Legally Blonde 2 stands to leave her star power unquestioned.
    • 40 Metascore
    • 50 Scott Tobias
    Though pitched as a thriller, Robinson’s woefully underbudgeted film plays instead like a chamber drama, so simple and unadorned that it could just as easily be staged as an off-off-Broadway play without anyone telling the difference. And that isn’t entirely to the film’s detriment, either: With a cast choked with great character actors like Ed Harris, William Fichtner, and Lance Henriksen, less is sometimes more.
    • 42 Metascore
    • 50 Scott Tobias
    Next bears some resemblance to another Dick adaptation, "Minority Report," about "pre-cogs" who can anticipate murders before they happen, but it doesn't really bother exploring the moral or emotional implications of Cage's power.
    • 61 Metascore
    • 50 Scott Tobias
    What's really missing from Conviction are the thorny questions it refuses to take up with any depth.
    • 63 Metascore
    • 50 Scott Tobias
    Happy Times doesn't buck the clichés so much as infuse them with feeling, playing off the pleasant, unforced rhythm of two characters who pine for simple companionship.
    • 48 Metascore
    • 50 Scott Tobias
    Silver means to get across the adrenaline rush of lives lived in dangerous extremes, but winds up trivializing their accomplishments and making them seem like men of hearty appetites, but little intellectual depth.
    • 51 Metascore
    • 50 Scott Tobias
    It's a triptych of erotic-themed short films directed by contemporary giants Wong Kar-wai and Steven Soderbergh, and nonagenarian master Michelangelo Antonioni. But the auteurist feast turns out to be a paltry spread, with one director on autopilot, another playing it safe, and the last apparently working on assignment for the European "Red Shoe Diaries."
    • 68 Metascore
    • 50 Scott Tobias
    It makes a persuasive argument — which it makes easier by not allowing any counterargument — but it’s unpersuasive as a piece of filmmaking. In laying out its case, it’s manipulative and dull by turns.

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