For 1,648 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 0.2 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Adaptation.
Lowest review score: 0 Son of the Mask
Score distribution:
1648 movie reviews
    • 88 Metascore
    • 90 Scott Tobias
    It’s emotionally and sexually explicit, as raw as an exposed nerve at times, but Adèle and Emma have public lives as well as private ones, and the film’s great achievement is holding them in balance and observing how they relate to each other.
    • 86 Metascore
    • 90 Scott Tobias
    Nebraska is one of Payne’s best films, a near-perfect amalgam of the acrid humor, great local color, and stirring resonances that run through his work.
    • 85 Metascore
    • 90 Scott Tobias
    Farhadi isn’t interested in judging his characters so much as comprehending them in all their complexity, and registering the consequences of their actions, particularly on children.
    • 75 Metascore
    • 90 Scott Tobias
    Since Belfort and his crew are complete knuckleheads, every bit the low-class slobs who bray like animals on the trading floor, The Wolf Of Wall Street may be the funniest film of 2013, rife with gross misbehavior, pranks, and tomfoolery.
    • 82 Metascore
    • 90 Scott Tobias
    Even when the plot kicks in and the stakes get raised, there’s a casualness to Guiraudie’s approach that’s singular and admirably defiant of genre expectations. He’s setting a scene. Tension insinuates itself later.
    • 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.
    • 83 Metascore
    • 90 Scott Tobias
    Fantastic Mr. Fox may be his most purely pleasurable film to date, evoking the Dahl books and Rankin-Bass productions that so transported him as a kid.
    • 88 Metascore
    • 90 Scott Tobias
    There’s nothing lost in his continued refinement of style; if anything, it makes the pleasures of his work that much more acute.
    • 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.
    • 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.
    • 79 Metascore
    • 90 Scott Tobias
    Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.
    • 76 Metascore
    • 90 Scott Tobias
    The simplified, handheld camerawork and the idea of “cutting for emotion” rather than continuity gets the most out of his actors, who are free to clash and improvise within a scene without worrying about hitting their marks.
    • 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.
    • 84 Metascore
    • 90 Scott Tobias
    Stray Dogs evokes the whole of Tsai’s filmography, but also pays off his collaboration with Lee, who shows a side of himself that’s been hidden away for all these years.
    • 76 Metascore
    • 90 Scott Tobias
    Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
    • 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.
    • 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.
    • 89 Metascore
    • 90 Scott Tobias
    DuVernay stages well-known public events like the “Bloody Sunday” march with scrupulousness, scope, and a gut-wrenching visceral power. But Selma’s true success is as a chamber piece, not a thundering historical epic.
    • 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.
    • 83 Metascore
    • 90 Scott Tobias
    Mitchell’s deft handling of the relationships in It Follows gets threaded into an ingenious and exceedingly skillful creepshow.
    • 87 Metascore
    • 90 Scott Tobias
    It’s a richly imagined drama that gives everyone involved a specific and understandable set of motives for acting the way they do.
    • 78 Metascore
    • 90 Scott Tobias
    Clouds Of Sils Maria is a great midlife crisis film, in other words, and, like Irma Vep, it’s also a great meta-commentary on contemporary moviemaking, with Assayas making keen observations about modern celebrity, screen-devouring blockbusters, Internet gossip culture, and the next generation of actresses, represented here by Kristen Stewart and Chloë Grace Moretz.
    • 75 Metascore
    • 90 Scott Tobias
    Heaven Knows What isn’t interested in merely exploring the world of New York City addicts. It wants to make their experiences felt, with the dissonant, amp-cracking roar of a punk anthem.
    • 76 Metascore
    • 90 Scott Tobias
    Though Cartel Land isn’t interested in making fact-filled statements about the drug war, Heineman’s ingenious conceit gets at the difficulty ordinary people have in doing something about it.
    • 80 Metascore
    • 85 Scott Tobias
    Greenfield's refusal to pass judgment on the Siegels lends her subjects and their marriage unexpected complexity and depth - especially Jackie, a true force of nature.
    • 81 Metascore
    • 85 Scott Tobias
    Leon isn't a flashy director, but he has an excellent sense of proportion. Gimme the Loot unfolds in a series of loose, funny, naturalistic scenes, but they never trail off into improvisational vapors.
    • 71 Metascore
    • 83 Scott Tobias
    The Descent sustains a level of intensity that most horror films can barely muster for five minutes.
    • 74 Metascore
    • 83 Scott Tobias
    Mexican writer-director Fernando Eimbcke got his start in short films and documentaries, and his first feature reveals a gift for concision: It doesn't overexert itself trying to come to big conclusions about these characters, and even the comedic scenes settle for gentle quirks over broad guffaws.
    • 71 Metascore
    • 83 Scott Tobias
    Much like his father Ivan (Ghostbusters), first-time director Jason Reitman has a broad, anything-goes comedic sensibility that allows silly gags and incidental humor to sneak in alongside the satirical barbs.

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