For 1,518 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 0.7 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Lake of Fire
Lowest review score: 0 Fireproof
Score distribution:
1,518 movie reviews
    • 68 Metascore
    • 83 Scott Tobias
    Given several years’ distance from the media blitz, Téchiné brings clarity, maturity, and perspective to the case while still subtly addressing all the thorny social issues the affair touched off.
    • 77 Metascore
    • 83 Scott Tobias
    The Ghost Writer may not go down as one of Polanski’s masterpieces, but if it does end up being his swan song, it’s the ideal denouement to a life and career of unsettling resonance.
    • 68 Metascore
    • 83 Scott Tobias
    Gibney has enough material for a dozen movies here, but his attempt at an overview, however unwieldy, paints one hell of a nauseating picture.
    • 70 Metascore
    • 83 Scott Tobias
    Currently serving out a sentence that will likely consume the remainder of his life, Spector turns the interview into a trial on his own terms--one that's gripping, revelatory, and a little self-incriminating.
    • 64 Metascore
    • 83 Scott Tobias
    Great casting takes The Other Guys most of the way: Ferrell draws a wealth of good material from his character's oddball ineffectuality, and he partners perfectly with Wahlberg, who's always best at his most incredulous.
    • 76 Metascore
    • 83 Scott Tobias
    Soul Kitchen plays everything big and loud-and sometimes too doggedly conventional-but it's the rare example of a crowd-pleaser made without cynicism or calculation.
    • 69 Metascore
    • 83 Scott Tobias
    Enter The Void is a trance-like experience, feeding the shimmering neon of Tokyo at night into a spectacular hallucinogenic head-trip.
    • 78 Metascore
    • 83 Scott Tobias
    Though narrower in scope and lacking the first-person angle, Waste Land resembles Agnès Varda's great 2000 documentary "The Gleaners & I," particularly in its awe of tough, creative, hard-working people who live on the margins.
    • 65 Metascore
    • 83 Scott Tobias
    Ficarra and Requa are more comfortable being bad: The nastier the film gets, the better it is.
    • 79 Metascore
    • 83 Scott Tobias
    Bale's live-wire performance typifies the many major and minor elements that elevate The Fighter from the deeply conventional sports movie it might have been into the endearingly offbeat sports movie it turns out to be.
    • 81 Metascore
    • 83 Scott Tobias
    Denis brings it all together for a genuinely shocking finale, unexpected, yet in keeping with the film's consuming madness.
    • 65 Metascore
    • 83 Scott Tobias
    When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control.
    • 64 Metascore
    • 83 Scott Tobias
    Broadly speaking, Canner hails from the Michael Moore school of first-person editorializing, but Orgasm Inc. isn't given to vanity or cheap shots.
    • 70 Metascore
    • 83 Scott Tobias
    Far from being a liability, Dolan's youthfulness gives it unmistakable vibrancy: This is a love-crazy, movie-crazy affair, laying bare its emotions just as plainly as its influences.
    • 67 Metascore
    • 83 Scott Tobias
    A mesmerizing study of the nature of evil itself.
    • 76 Metascore
    • 83 Scott Tobias
    It's no insult to say that the fine documentary Bill Cunningham New York resembles one of those minor profiles found in The New Yorker's "Talk Of The Town" section: a slight, glancing, yet subtly wrought slice of New York life. And it seems likely that the exceedingly modest Cunningham would want it that way.
    • 67 Metascore
    • 83 Scott Tobias
    Like a proper action sequel, it's bigger, louder, and sillier than its predecessors, but it's more streamlined, too, smartly dumping the tired underground racing angle in favor of a crisp, hugely satisfying "Ocean's Eleven"-style heist movie.
    • 85 Metascore
    • 83 Scott Tobias
    The film never feels entirely staid: Lu wriggles out of convention where he can, especially in the first half, and engages with history as an artist, not a hagiographer.
    • 81 Metascore
    • 83 Scott Tobias
    Doing some of his best work in years, Ewan McGregor plays Mills' alter ego as a prickly, not altogether noble loner in his late 30s who initially doesn't take the news of his father's coming-out well.
    • 63 Metascore
    • 83 Scott Tobias
    Over a difficult three-hour sprawl, Cristi Puiu's Aurora fully explores the time before and after a killer strikes, and it has the cumulative effect of making what passes for a "motive" seem absurdly simplistic.
    • 72 Metascore
    • 83 Scott Tobias
    Through the ceaseless efforts of two dedicated pro bono lawyers-both with personal reasons to keep up the fight for five or six grueling years-director Yoav Potash follows every revelation and setback with an urgency most fiction films can't muster.
    • 67 Metascore
    • 83 Scott Tobias
    It's a film where the feelings and experiences of young people are highly specific in detail, yet fundamentally universal and timeless.
    • 86 Metascore
    • 83 Scott Tobias
    Witnessing outreach workers intervening in these situations is inspiring enough, but their subtlety and nuance in neutralizing people of different backgrounds and temperaments is especially impressive.
    • 87 Metascore
    • 83 Scott Tobias
    Miller directs with intelligence, though not flair, but the script makes up for any flagging energy with crackling Sorkin dialogue and performances that sing with revolutionary fervor.
    • 73 Metascore
    • 83 Scott Tobias
    Côté and Henriquez err in pressing their case too hard on occasion, especially when they cut to reaction shots of Khadr supporters watching footage of his agony; there's a line between providing context and manipulating the audience that they don't care to acknowledge. Then again, subtlety isn't likely the goal: You Don't Like The Truth beats the drum, and beats it loudly.
    • 80 Metascore
    • 83 Scott Tobias
    The grand concept is really just a vehicle for a more intimate study of depression and its dangerous, shifting polarities.
    • 74 Metascore
    • 83 Scott Tobias
    His film powerfully suggests that violent death of any kind, whether personal or state-mandated, transforms everyone in its vicinity.
    • 72 Metascore
    • 83 Scott Tobias
    McQueen is a showy director, but his bravura long takes have the effect of heightened attentiveness, allowing scenes to build in intensity without the relief of a cut.
    • 71 Metascore
    • 83 Scott Tobias
    Mara's Salander is the film's lifeblood, a shrewd yet vulnerable outsider whose resilience and pluck help Fincher elevate The Girl With The Dragon Tattoo above the standard procedural. But just barely.
    • 68 Metascore
    • 83 Scott Tobias
    In its best sequences, Ramsay puts her duress in dazzlingly visual terms, collapsing the past and present in an associative rush of red-streaked images and piercingly vivid moments out of time.