For 1,512 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 0.8 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Departed
Lowest review score: 0 The Real Cancun
Score distribution:
1,512 movie reviews
    • 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.
    • 65 Metascore
    • 83 Scott Tobias
    Taylor and Frankel go too broad when they try for comic relief - and the on-the-nose soundtrack is borderline criminal - but Hope Springs handles marriage and advanced-age sexuality with a refreshing, down-to-earth candor. In today's Hollywood, that counts as radical.
    • 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.
    • 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.
    • 81 Metascore
    • 83 Scott Tobias
    It's the perfect material for Russell, who not only deals perceptively with the dizzying swings of manic depression, but makes it the fabric of a big, generous, happy-making ensemble comedy.
    • 57 Metascore
    • 83 Scott Tobias
    While Raimi’s Stooges aesthetic — which was really more prominently displayed in the sequels than in 1981’s The Evil Dead — isn’t played up here, there’s enough outrageous unreality to make the brutality go down a little easier. It isn’t quite a cartoon, but it’s close enough.
    • 69 Metascore
    • 83 Scott Tobias
    Chronicle becomes what "Hancock" wanted to be - a dark superhero story with firm footing in the everyday. Perhaps now the found-footage gimmick has been fully exploited; let us never speak of it again.
    • 53 Metascore
    • 83 Scott Tobias
    It's all done in questionable taste, mucking around in the nasty terrain of snuff films and children in constant peril, but Sinister is smart and well-crafted, and it scarcely gives the audience a moment to breathe.
    • 64 Metascore
    • 83 Scott Tobias
    For a genre film, Killing Them Softly goes to an awfully strange, none-too-subtle place, but the choice to move the '08 election from background to overlay is unusually bold and thought-provoking, too.
    • 73 Metascore
    • 83 Scott Tobias
    Glawogger studiously avoids explicitness until he gets to Mexico, where he finally goes past the bartering stage and behind closed doors as business is conducted. Pleasure isn't part of the transaction.
    • 75 Metascore
    • 83 Scott Tobias
    Like his underappreciated "Haywire," Side Effects screws around in its own thriller architecture, toying with feints of structure and clever bits of misdirection, and otherwise playing the audience like a fiddle. At this point in his career, Soderbergh pulls it off with the unpracticed ease of a maestro.
    • 86 Metascore
    • 83 Scott Tobias
    Drawing on a wealth of footage from inside ACT UP meetings and protests, David France's powerful documentary How To Survive A Plague pays tribute to their courage and relentlessness, but it's even better as a record of the tactics of effective activism.
    • 84 Metascore
    • 83 Scott Tobias
    Trier doesn't allow the bleakness of the material to swamp the film in a miserablist tone, but he doesn't hold back, either, in revealing every hairline crack in Lie's fragile psyche.
    • 76 Metascore
    • 83 Scott Tobias
    Arriving on the heels of "13 Assassins," Miike's gloriously irreverent take on the samurai action genre, Hara-Kiri seems conventional by his standards, especially in a long middle section that occasionally dips into sentimentality.
    • 62 Metascore
    • 83 Scott Tobias
    This is not some nostalgia-soaked throwback to the noir of old, but a rude, shit-kicking thriller that co-opts - and merrily defiles - a classic like "Double Indemnity." Whatever its shortcomings, at least they're never failures of nerve.
    • 77 Metascore
    • 83 Scott Tobias
    The beauty of the film is how organically its themes are presented - it's a slice of life that comes about its sweeping ideas with surprising delicacy.
    • 81 Metascore
    • 83 Scott Tobias
    In an unusually subtle performance by a child actor, Kacey Mottet Klein stars as a crafty ragamuffin.
    • 69 Metascore
    • 83 Scott Tobias
    Head Games is particularly devastating when it shifts from the NFL and NHL, where brutality and headshots are a given, to girls' soccer and under-14 football leagues, where still-developing young necks and skulls make kids perhaps more vulnerable to head trauma than their professional counterparts.
    • 58 Metascore
    • 83 Scott Tobias
    Still, there’s no doubt that To The Wonder is a fans-only proposition, continuing Malick’s evolution (or devolution, for some) from the narrative grounding of "Badlands" to much more abstract, poeticized notions of the human condition.
    • 78 Metascore
    • 83 Scott Tobias
    Like other great pastiche artists, Gomes has created a time machine to a cinematic era that never quite existed, so it feels simultaneously borrowed and new.
    • 76 Metascore
    • 83 Scott Tobias
    His outrageous, self-destructive journey lands him in a place just as ironic as Rupert Pupkin’s in "The King Of Comedy," but it’s haunting and mysterious, too, reflecting the dream that consumes his life.
    • 88 Metascore
    • 80 Scott Tobias
    Loosely structured around four seasons, Nobody Knows unfolds in a long series of episodes that slowly progress from lightly comic to bracingly sad as the situation deteriorates.
    • 89 Metascore
    • 80 Scott Tobias
    A big, family-style Italian dinner, catered to the broadest tastes, yet satisfying all the same.
    • 86 Metascore
    • 80 Scott Tobias
    Though conventional in many respects, it feels like no other boxing film ever made, due largely to Eastwood's unmistakable presence on both sides of the camera.
    • 74 Metascore
    • 80 Scott Tobias
    The result is a powerfully visceral experience that justifies itself almost entirely on surface chops, with striking color composition and a complex sound design that elevates the story to an operatic scale.
    • 78 Metascore
    • 80 Scott Tobias
    A romantic comedy with jagged edges, Fatih Akin's exhilarating Head-On paves the road to love through miles of prickly thatch.
    • 82 Metascore
    • 80 Scott Tobias
    Handsomely produced and photographed, which alone distinguishes it from the guerrilla standards of its cut-rate peers, Enron succeeds most by simply making a complex situation graspable, a tall order when the perpetrators are masters of grand-scale deception.
    • 72 Metascore
    • 80 Scott Tobias
    3-Iron gains its hypnotic power by observing these characters through a slight remove. With total command of his effects, Kim transforms an already peculiar romance into something as otherworldly as a ghost story.
    • 75 Metascore
    • 80 Scott Tobias
    Adjusting to Martel's style requires patience, but her indirection pays dividends, culminating in an unforgettable final shot that flies in the face of narrative expectations.
    • 55 Metascore
    • 80 Scott Tobias
    It may not have been what the producers had in mind, but they asked for a Paul Schrader movie, and that's exactly what he delivered.