For 1,701 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 2 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Safe
Lowest review score: 0 Extremely Loud and Incredibly Close
Score distribution:
1701 movie reviews
    • 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."
    • 45 Metascore
    • 50 Scott Tobias
    The brain trust responsible in part for last year's "The Cat In The Hat," Eurotrip seems like the result of a particularly half-hearted brainstorming session.
    • 55 Metascore
    • 50 Scott Tobias
    There's a deceptive gravitas to the British vigilante thriller Harry Brown that some are bound to mistake for class--or even truth--in the way it grapples with one man's violent stand against societal decay. Much of that is owed to Michael Caine, an actor of such rare dignity and stature that audiences are naturally willing to follow him anywhere, including into the heart of truly risible material.
    • 59 Metascore
    • 50 Scott Tobias
    A few of the gags land, most of them don’t, but the overall rhythm is stilted and rudderless, flattened further by d.p. Paul Suderman’s point-and-shoot camerawork.
    • 51 Metascore
    • 50 Scott Tobias
    The incongruous mix of real locations and stage sets, real voices and overdubs, is a constant distraction, while the choreography lumbers in group numbers and goes flat in more intimate ones.
    • 66 Metascore
    • 50 Scott Tobias
    Huffman intermittently rescues Transamerica from bathos with her brusque wit, swatting away the victimization elements that figure into most films about transsexuals.
    • 34 Metascore
    • 50 Scott Tobias
    What results are surprises without sustenance.
    • 45 Metascore
    • 50 Scott Tobias
    Bay blankets the film in a tone of smug self-awareness that obscures everything but its bald hypocrisy.
    • 44 Metascore
    • 50 Scott Tobias
    Director Carter Smith suffers from another, more common problem: In trying to squeeze every plot point from the book into a 90-minute movie, he failed to capture its chilling essence.
    • 48 Metascore
    • 50 Scott Tobias
    Walter has the case down cold and arrives at suitably ambiguous conclusions about terrors both real and suggested, but he gets there through a mix of dimly lit interviews and ominous underscoring that wouldn’t be out of place on an episode of "Unsolved Mysteries."
    • 46 Metascore
    • 50 Scott Tobias
    Truth be told, Sachiko Hanai is probably an accomplished "pink film"; just don't mistake it for something classier.
    • 52 Metascore
    • 50 Scott Tobias
    Wasteland reveals itself as little more than a bloodless plot engine, but it purrs and hums under the ultra-slick chassis.
    • 49 Metascore
    • 50 Scott Tobias
    Curiously lifeless, Lucky You feels like poker without stakes; it goes through the motions with nothing to play for.
    • 56 Metascore
    • 50 Scott Tobias
    Nakashima does his best to keep the flimsy enterprise afloat, mostly through whooshing camera movements and headlong dives into the grotesque extremes of Japanese kitsch. By the end, the effect is like eating a bellyache's worth of cotton candy.
    • 46 Metascore
    • 50 Scott Tobias
    Embellishments to Neil Simon's original script were inevitable, but when you're adding an "Uncle Tito," you're definitely on the wrong track.
    • 65 Metascore
    • 50 Scott Tobias
    Through The Fire posits Telfair's good fortune as the belated fulfillment of Jamal's dreams and his family's desire to leave the projects, but it rarely gives a thought to the many thousands of gifted inner-city ballers who devote their lives to a goal that never materializes.
    • 55 Metascore
    • 50 Scott Tobias
    The film tries to squeeze Austen into one of her novels, and the peg doesn't fit.
    • 49 Metascore
    • 50 Scott Tobias
    An empty lake, drained of any tangible substance and refilled with wispy, pseudo-poetic metaphor.
    • 65 Metascore
    • 50 Scott Tobias
    The first half of Cocoon is easier to stomach, as a group of septua- and octogenarians steal away to a private pool that becomes the Fountain Of Youth. The scenes of revitalized St. Petersburg retirees aerobicizing and breakdancing do have a genuine sweetness, especially with the roles filled out by a cast of beloved Hollywood old-timers.
    • 71 Metascore
    • 50 Scott Tobias
    Babenco's hard work is undercut by his squarely theatrical notion of realism: Specifically, how did the touring company for "West Side Story" wind up in such an awful spot?
    • 64 Metascore
    • 50 Scott Tobias
    Eastwood's down-the-middle police procedural Blood Work ranks as his least ambitious work in a decade, anonymous save for his iconic screen presence and a tasteful selection of jazz on the soundtrack.
    • 55 Metascore
    • 50 Scott Tobias
    Making his feature debut, director Sacha Gervasi follows up his fine documentary "Anvil: The Story Of Anvil" with another story about the perils of uncompromising creative endeavor, but his Hitchcock goes only a step beyond caricature.
    • 75 Metascore
    • 50 Scott Tobias
    Though an assured and diverting piece of filmmaking, Man On The Train sags from complacency, rarely breaking its neat construction to animate the friendship with any real warmth and life.
    • 47 Metascore
    • 50 Scott Tobias
    Turns into an edited-for-TV version of Sam Peckinpah's "The Wild Bunch"--flat, bloodless, and utterly bereft of period grit.
    • 50 Metascore
    • 50 Scott Tobias
    Looks and sounds like a black comedy, but by the time DeVito reaches the cutesy, nonsensical ending, he's lost the will to follow through on it.
    • 45 Metascore
    • 50 Scott Tobias
    It’s when the small moments become large ones that Feste overreaches and the shaky performances don’t bail her out.

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