Scott Tobias, The A.V. Club
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For 1,280 reviews, this critic has graded:
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48% higher than the average critic
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3% same as the average critic
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49% lower than the average critic
On average, this critic grades 1 point higher than other critics.
(0-100 point scale)
Scott Tobias' Scores
- Movies
| Average review score: | 60 |
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| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 647 out of 1280
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Mixed: 470 out of 1280
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Negative: 163 out of 1280
1,280
movie reviews
- By critic score
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Scott Tobias 83
Bujalski’s funny, diverting character piece has a lived-in quality that’s no small achievement. -
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Scott Tobias 83
Nobody is better at capturing the crushing banality of everyday life than Judge. -
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Scott Tobias 83
The value of No Impact Man, a compelling and suitably exasperating documentary about one family’s attempt to not harm the environment for a year, is that it forces viewers to reflect on their own casual consumption and waste. -
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Scott Tobias 83
It’s not always easy to sort out the legitimately inspired touches from the merely campy ones, but the film has a deranged, go-for-broke spirit that makes such distinctions irrelevant. -
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Scott Tobias 83
A clever, exceedingly wonky procedural about a undercover cop (Dragos Bucur) who quietly refuses to do what he's told. -
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Scott Tobias 83
Given several years’ distance from the media blitz, Téchiné brings clarity, maturity, and perspective to the case while still subtly addressing all the thorny social issues the affair touched off. -
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Scott Tobias 83
The Ghost Writer may not go down as one of Polanski’s masterpieces, but if it does end up being his swan song, it’s the ideal denouement to a life and career of unsettling resonance. -
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Scott Tobias 83
Gibney has enough material for a dozen movies here, but his attempt at an overview, however unwieldy, paints one hell of a nauseating picture. -
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Scott Tobias 83
Currently serving out a sentence that will likely consume the remainder of his life, Spector turns the interview into a trial on his own terms--one that's gripping, revelatory, and a little self-incriminating. -
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Scott Tobias 83
Great casting takes The Other Guys most of the way: Ferrell draws a wealth of good material from his character's oddball ineffectuality, and he partners perfectly with Wahlberg, who's always best at his most incredulous. -
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Scott Tobias 83
Soul Kitchen plays everything big and loud-and sometimes too doggedly conventional-but it's the rare example of a crowd-pleaser made without cynicism or calculation. -
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Scott Tobias 83
Enter The Void is a trance-like experience, feeding the shimmering neon of Tokyo at night into a spectacular hallucinogenic head-trip. -
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Scott Tobias 83
Though narrower in scope and lacking the first-person angle, Waste Land resembles Agnès Varda's great 2000 documentary "The Gleaners & I," particularly in its awe of tough, creative, hard-working people who live on the margins.- Posted Oct 28, 2010
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Scott Tobias 83
Ficarra and Requa are more comfortable being bad: The nastier the film gets, the better it is.- Posted Dec 6, 2010
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Scott Tobias 83
Bale's live-wire performance typifies the many major and minor elements that elevate The Fighter from the deeply conventional sports movie it might have been into the endearingly offbeat sports movie it turns out to be.- Posted Dec 9, 2010
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Scott Tobias 83
Denis brings it all together for a genuinely shocking finale, unexpected, yet in keeping with the film's consuming madness.- Posted Dec 14, 2010
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Scott Tobias 83
When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control.- Posted Jan 27, 2011
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Scott Tobias 83
Broadly speaking, Canner hails from the Michael Moore school of first-person editorializing, but Orgasm Inc. isn't given to vanity or cheap shots.- Posted Feb 10, 2011
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Scott Tobias 83
Far from being a liability, Dolan's youthfulness gives it unmistakable vibrancy: This is a love-crazy, movie-crazy affair, laying bare its emotions just as plainly as its influences.- Posted Feb 24, 2011
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- Posted Mar 3, 2011
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Scott Tobias 83
It's no insult to say that the fine documentary Bill Cunningham New York resembles one of those minor profiles found in The New Yorker's "Talk Of The Town" section: a slight, glancing, yet subtly wrought slice of New York life. And it seems likely that the exceedingly modest Cunningham would want it that way.- Posted Mar 17, 2011
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Scott Tobias 83
Like a proper action sequel, it's bigger, louder, and sillier than its predecessors, but it's more streamlined, too, smartly dumping the tired underground racing angle in favor of a crisp, hugely satisfying "Ocean's Eleven"-style heist movie.- Posted Apr 28, 2011
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Scott Tobias 83
The film never feels entirely staid: Lu wriggles out of convention where he can, especially in the first half, and engages with history as an artist, not a hagiographer.- Posted May 12, 2011
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Scott Tobias 83
Doing some of his best work in years, Ewan McGregor plays Mills' alter ego as a prickly, not altogether noble loner in his late 30s who initially doesn't take the news of his father's coming-out well.- Posted Jun 2, 2011
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Scott Tobias 83
Over a difficult three-hour sprawl, Cristi Puiu's Aurora fully explores the time before and after a killer strikes, and it has the cumulative effect of making what passes for a "motive" seem absurdly simplistic.- Posted Jun 29, 2011
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Scott Tobias 83
Through the ceaseless efforts of two dedicated pro bono lawyers-both with personal reasons to keep up the fight for five or six grueling years-director Yoav Potash follows every revelation and setback with an urgency most fiction films can't muster.- Posted Jun 30, 2011
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Scott Tobias 83
It's a film where the feelings and experiences of young people are highly specific in detail, yet fundamentally universal and timeless.- Posted Jul 21, 2011
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Scott Tobias 83
Witnessing outreach workers intervening in these situations is inspiring enough, but their subtlety and nuance in neutralizing people of different backgrounds and temperaments is especially impressive.- Posted Jul 28, 2011
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Scott Tobias 83
Miller directs with intelligence, though not flair, but the script makes up for any flagging energy with crackling Sorkin dialogue and performances that sing with revolutionary fervor.- Posted Sep 21, 2011
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Scott Tobias 83
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.- Posted Sep 28, 2011
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