For 1,661 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 0.8 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Funny Games (2008)
Lowest review score: 0 From Justin to Kelly
Score distribution:
1661 movie reviews
    • 63 Metascore
    • 50 Scott Tobias
    Zero Charisma is a comedy by classification, but its cruelties have a way of turning it into a psychodrama inadvertently. The tone is often as abrasive as its hero.
    • 38 Metascore
    • 50 Scott Tobias
    Singleton abandons the underground racing subculture that gave the first film its allure, relying instead on lazy thriller plotting that's only a bag of donuts and a freeze-frame away from the average TV cop show.
    • 44 Metascore
    • 50 Scott Tobias
    There’s an overlay of gender politics, but it isn’t so firmly ingrained in the material that it transforms Levine’s throwback ’80s slasher film into a much nobler, more thoughtful endeavor.
    • 55 Metascore
    • 50 Scott Tobias
    Faris has mostly logged time in dire vehicles like The House Bunny, which are dumb-dumb to her smart-dumb.
    • 51 Metascore
    • 50 Scott Tobias
    La Soga isn't without redeeming qualities: Superfluous flashbacks aside, Crook keeps the action moving at a fast clip, cutting fluidly from the streets of Santiago to its criminal pipeline in Washington Heights, and he gets a sinister turn from Calderon, a veteran character actor who plays Rafa with a soulful swagger.
    • 50 Metascore
    • 50 Scott Tobias
    Though Eat Pray Love never loses the sour whiff of unexamined first-world privilege, its heroine does at least immerse herself in different cultures rather than expecting them to adapt to her.
    • 50 Metascore
    • 50 Scott Tobias
    Confusing gender issues like the ones dredged up in Ex-Girlfriend call to mind another Reitman dud, the pregnant-Arnold Schwarzenegger comedy "Junior," and the sophistication level has only slightly improved since then.
    • 53 Metascore
    • 50 Scott Tobias
    All the bright colors Cassavetes splashes on the canvas don't make Alpha Dog art.
    • 69 Metascore
    • 50 Scott Tobias
    Scrub away the gore and the nastier bits of provocation, and Ben Wheatley's Sightseers belongs squarely in the tradition of British classics like "Kind Hearts and Coronets" and "The Ruling Class" — satires that transformed simmering class resentment into brittle, nasty dark comedy.
    • 50 Metascore
    • 50 Scott Tobias
    Peel away the many layers of reference, and all that's left of Americano is the raw need of a lonely, confused young man who's distant from his family, awash in vague memories, and struggling to find himself. This is less a movie than a patient for pop psychologists.
    • 61 Metascore
    • 50 Scott Tobias
    There's no subtext to The Jane Austen Book Club, just a skim across the books' surface that winds up re-shelving a great author into the self-help section.
    • 57 Metascore
    • 50 Scott Tobias
    In spite of his considerable intelligence and cinematic gifts, Pawlikowski isn't Roman Polanski, so the delusions and psychosis of his put-upon lead character doesn't have the right intensity. Fifth feels like a literary bauble, chipped by imperfections.
    • 44 Metascore
    • 50 Scott Tobias
    There's no depth, surprises, or wit to the screenplay, which seems motivated by the sole desire to generate the vilest, most disgusting people and images imaginable.
    • 55 Metascore
    • 50 Scott Tobias
    The formalities of the period dialogue and a wavering, inexplicable accent test him (Tatum) beyond his limits, and the film isn't thoughtful or original enough to survive it.
    • 39 Metascore
    • 50 Scott Tobias
    Contains all the elements of a satisfying teen genre picture, but they've been compromised out of existence.
    • 56 Metascore
    • 50 Scott Tobias
    Escobar: Paradise Lost takes such a limited view of this multi-faceted figure that it fails as portraiture, and the real center of the film is too much of a bland good guy to compensate.
    • 29 Metascore
    • 50 Scott Tobias
    Had it been easier to comprehend at the beginning, there's no telling how bad Premonition might have been.
    • 63 Metascore
    • 50 Scott Tobias
    Farr delves into the sticky issue of parental ambivalence, but he only goes deep enough to carve a small pit in the viewer’s stomach.
    • 65 Metascore
    • 50 Scott Tobias
    There are indications scattered throughout Coco Before Chanel of a major designer quietly and persistently honing her craft, but most of the film could exist without the Chanel name and still smell like the same perfume.
    • 48 Metascore
    • 50 Scott Tobias
    Saw III may be the best of the trilogy; hopefully, it'll encourage its makers to wrap the franchise on a relatively high note.
    • 71 Metascore
    • 50 Scott Tobias
    Rain lays so much portent on every scene that it becomes ungenerous and morally forbidding, as if each bummed cigarette or leisurely cocktail will lead the family that much closer to oblivion. In this case, the punishment is far greater than the crime.
    • 48 Metascore
    • 50 Scott Tobias
    Doesn't have the content to match the form, never cohering into anything more substantial than a glum navel-gazer about a little girl lost, unable to find a permanent home (literally or figuratively) on either side of the Atlantic.
    • 51 Metascore
    • 50 Scott Tobias
    The Predator series needed a shot of vitality, not another workmanlike go-around. SSDP: Same shit, different planet.
    • 46 Metascore
    • 50 Scott Tobias
    Amelio’s latest, Intrepido: A Lonely Hero, reveals the same strengths and weaknesses as his work two decades ago—an appealing sincerity and social awareness, dogged by a mile-wide sentimental streak. In this case, when Intrepido tilts from whimsical comedy to metaphysical drama, it falls right off the cliff.
    • 53 Metascore
    • 50 Scott Tobias
    The sturdy premise delivers little in the way of actual laughs.
    • 57 Metascore
    • 50 Scott Tobias
    Sputtering along on Mac's sleepy improvisations, Mr. 3000 volleys between the dumb, frat-house wackiness of "Major League" and the "Wonder Bat" schmaltz of "The Natural" and "Field Of Dreams," chasing the gags with a lame baseball-as-life message about playing for the right reasons.
    • 33 Metascore
    • 50 Scott Tobias
    In a way, Collateral Damage is redeemed by its implausibility, because the closer it comes to reality, the more disturbing it gets. For once, viewers have reason to be grateful for having their intelligence insulted.
    • 56 Metascore
    • 50 Scott Tobias
    Were it not so committed to telling the official story in bullet points, Race might have found a more provocative angle about athletes and artists who work through and around the powers that be.
    • 26 Metascore
    • 50 Scott Tobias
    It isn't clever. It isn't original. It isn't scary. At best, Skyline is a proficient, forgettable programmer that only occasionally lapses into irredeemably silliness.
    • 50 Metascore
    • 50 Scott Tobias
    Take a cue from Guzmán, who serves as a kind of court jester, bouncing in and out of scenes in a one-man quest to bring levity to the occasion. The movie could stand to have more of his Christmas cheer; instead, it's a recast "Family Stone."

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