For 1,743 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 2.4 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Knocked Up
Lowest review score: 0 The Real Cancun
Score distribution:
1743 movie reviews
    • 88 Metascore
    • 91 Scott Tobias
    It helps that the actors' faces are so mesmerizing, particularly Manjinder Virk as Lorraine.
    • 85 Metascore
    • 91 Scott Tobias
    Gosling excels at playing contradictory characters like this one, having kick-started his career as a Jewish neo-Nazi in "The Believer," but here, his inner turmoil rarely gets vocalized. It's a remarkably subtle performance.
    • 84 Metascore
    • 91 Scott Tobias
    Old Joy doesn't try for too much, but its subtle victories leave plenty to savor.
    • 73 Metascore
    • 91 Scott Tobias
    There's a bittersweet quality to McCandless' story that Penn captures intuitively.
    • 80 Metascore
    • 91 Scott Tobias
    Having the dog around raises the emotional stakes tenfold, and develops a kinship with Vittorio De Sica's Italian neo-realist classic "Umberto D.," which also revealed societal ills through a poignant dog-owner relationship
    • 82 Metascore
    • 91 Scott Tobias
    The body means different things for each of them, and Ceylan's mesmerizing existential drama takes its time establishing the players and bringing their inner lives into focus. It's cinema as autopsy.
    • 83 Metascore
    • 91 Scott Tobias
    Raimi’s new film feels distinctly unburdened and fun, happily frolicking in its own pulp silliness.
    • 71 Metascore
    • 91 Scott Tobias
    Never to be confused for the rom-com starring Amy Adams - though that would be the mother of all video-store mix-ups - Leap Year lets actions speak louder than words, and the actions here are shockingly explicit.
    • 78 Metascore
    • 91 Scott Tobias
    Since women are usually such foreign creatures in Scorsese's work, he seemed an unlikely choice to direct Burstyn's feminist vehicle, but his aggressive style suits her uncompromising character.
    • 74 Metascore
    • 91 Scott Tobias
    Humpday carefully raises the stakes until it hits a finale loaded with humor, tenderness, and delicious ambiguity. It’s like "Old Joy" by way of Judd Apatow.
    • 78 Metascore
    • 90 Scott Tobias
    Debut features are rarely this confident and accomplished, much less such a perfect blueprint of what to expect from a filmmaker down the line.
    • 68 Metascore
    • 90 Scott Tobias
    By turns playful, harrowing, intensely moving, and uproariously funny, Chain Camera cuts away all documentary artifice and goes straight to the source, allowing these kids to reveal themselves with the utmost directness and candor.
    • 87 Metascore
    • 90 Scott Tobias
    This film confirms that Panh approaches the past not as a historian, but as an artist, and an exceptionally vital one at that.
    • 86 Metascore
    • 90 Scott Tobias
    Dazzling cinema-essay.
    • 90 Metascore
    • 90 Scott Tobias
    First-time director Jarecki, better known as the co-founder of MovieFone, skillfully integrates the home-movie footage with his own thorough inquiry, weaving past and present into a patient, deeply engrossing piece of storytelling that's rich in ambiguities.
    • 94 Metascore
    • 90 Scott Tobias
    Good comedies are rare, but rarer still are those that conflate laughter with intimacy.
    • 86 Metascore
    • 90 Scott Tobias
    The Dardennes sustain that tension through a masterful closing drive that resembles the final third of "In The Bedroom," only without the same dreadful inevitability.
    • 85 Metascore
    • 90 Scott Tobias
    With the conceptual rigor and emotional directness associated with the best of Iranian cinema, Oskouei simply listens to the stories of those who have never been listened to before. Their shattering testimony, elegantly harmonized in a chorus of stolen childhood, has universal appeal.
    • 65 Metascore
    • 90 Scott Tobias
    Though glazed in chilly surfaces -- the Kubrickian spaces, Cliff Martinez's gorgeous ambient score, the elliptical editing rhythms of Soderbergh's recent work, particularly "The Limey" -- the film contains a surprising depth of feeling within its egg-shaped head.
    • 81 Metascore
    • 90 Scott Tobias
    Provides one of the rare glimpses of the upper class to come out of recent Iranian cinema--the last one in memory was 1996's exquisite, Ibsen-esque melodrama "Leila"--and director Jafar Panahi (The Circle) captures it vividly through his hero's wounded obsession.
    • 75 Metascore
    • 90 Scott Tobias
    Emerges as something rare, an issue movie that's so honest and keenly observed that it doesn't feel like one. It earns its thesis statement through minute details and a unique grasp of a commonplace problem.
    • 90 Metascore
    • 90 Scott Tobias
    In the spirit of the original, Linklater closes with one of the best endings of its kind since George Romero's "Martin."
    • 77 Metascore
    • 90 Scott Tobias
    What really sets The Immigrant apart is how urgent it feels. Historical dramas often have a reserve that comes with perspective, but nearly a full century removed from this story, Gray seems, if anything, more emotionally invested here than in his contemporary dramas.
    • 87 Metascore
    • 90 Scott Tobias
    What makes The Duke Of Burgundy so affecting is how deftly Strickland and his remarkable actresses bring something as exotic as lesbian S&M into the realm of the ordinary and relatable. Viewers can see themselves in Cynthia and Evelyn, whether they’re hand-washing each other’s undergarments or not.
    • 70 Metascore
    • 90 Scott Tobias
    Though shorn of 20 minutes for its U.S. debut, the film's wry comic portrait of the Japanese Occupation during WWII hasn't lost any of its incendiary brilliance, both as a political provocation and as a brusquely humane take on the horrors and absurdity of war.
    • 88 Metascore
    • 90 Scott Tobias
    This isn’t merely about the follies of a misanthrope, it’s an epic tragedy about life in the Ivory Tower and the inability to understand—much less empathize with—other human beings.
    • 87 Metascore
    • 90 Scott Tobias
    Östland writes the conflict between husband and wife beautifully, like a scab that gets picked at until it bleeds, and he does things cinematically, too, to suggest the growing distance between them—an already-cool visual palette broadens like a yawning chasm.
    • 82 Metascore
    • 90 Scott Tobias
    George Washington is a mood piece first, and its triumph is in bottling up the intense feeling of early adolescence, and watching how tragedy transforms it.

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