For 1,649 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 0.3 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Moonrise Kingdom
Lowest review score: 0 Extremely Loud and Incredibly Close
Score distribution:
1649 movie reviews
    • 76 Metascore
    • 83 Scott Tobias
    With juicy supporting roles for Chiwetel Ejiofor and Willem Dafoe as Washington's fellow officers, the film works best when the characters are just sitting back and shooting the breeze, which is what they're doing much of the time. Here, puzzling out a robbery is more fun than stopping it.
    • 69 Metascore
    • 83 Scott Tobias
    Though it occasionally dips too deep into a well of redneck humor, Slither cleverly exploits the nervous laughter that fills a theater whenever a horror movie gets too frightening to bear.
    • 62 Metascore
    • 83 Scott Tobias
    Zahedi isn't afraid to put himself out there, even when his thoughts and actions are profoundly unflattering; his self-effacement makes the film a reflection on narcissism and misogyny rather than an exercise in both.
    • 61 Metascore
    • 83 Scott Tobias
    Edmond would probably be completely unapproachable were it not spiked with so much dark wit, much of it coming from Macy's painful naïveté and cheapness, which comes through in negotiations with various women of the night.
    • 65 Metascore
    • 83 Scott Tobias
    While it never approaches the richness and gravity of a great Mann film like "Heat," Miami Vice blurs the thin blue line to similar effect, and he features a couple of bravura setpieces, including a tense raid on an enemy hideout and a shootout with chaotic, you-are-there immediacy. If only all summer movies were this majestically slight.
    • 75 Metascore
    • 83 Scott Tobias
    It thoroughly eviscerates the MPAA and makes a solid case that the culture has paid the price for its censorious practices. His (Dick's) attacks are the equivalent of shooting ducks in a barrel, but these ducks had it coming.
    • 72 Metascore
    • 83 Scott Tobias
    Though Climates lacks "Distant's" haunted, poetic melancholy, it has a vivid, sensual texture that's unmistakably Ceylan's. He's one of those rare directors who doesn't need a credit for identification.
    • 49 Metascore
    • 83 Scott Tobias
    With a few self-conscious exceptions, Soderbergh makes an earnest attempt to return to that place and time in both history and American filmmaking, and his risk-taking pays fascinating dividends.
    • 85 Metascore
    • 83 Scott Tobias
    Most of all, The Host functions as a popcorn movie par excellence, loaded with the most familiar conventions, but shot through with such conviction and visual panache that even its clichés seem invigorating.
    • 73 Metascore
    • 83 Scott Tobias
    The Lookout's thriller elements could stand to be more surprising, but they're ultimately in service of a better understanding of the characters. Usually, it's the other way around.
    • 61 Metascore
    • 83 Scott Tobias
    Meet The Robinsons takes a large step toward making 3D a sustainable format, the CinemaScope of tomorrow.
    • 77 Metascore
    • 83 Scott Tobias
    Resnais and Ayckbourn care primarily about observing these characters' private and public faces, who they are and who they present themselves as. To that end, they've achieved a mood of enchanting intimacy.
    • 78 Metascore
    • 83 Scott Tobias
    Under Fresnadillo's assured direction, 28 Weeks Later blurs the line between genre entertainment and a photojournalist's shots of the next urban catastrophe.
    • 78 Metascore
    • 83 Scott Tobias
    Like many French films of its kind, Private Property remains content to simply observe a situation without tidying up the narrative, which in this case leaves some big questions unanswered. But Lafosse knows that problems that beg for a resolution sometimes don't get one.
    • 54 Metascore
    • 83 Scott Tobias
    It's a hilariously half-baked scheme, one that quickly turns them from hunters to hunted, but the strength of The Hunting Party is its shaggy-dog quality.
    • 85 Metascore
    • 83 Scott Tobias
    The frequent outbursts of comedy help alleviate a tone that's appropriately muted and sad, and Jenkins should be credited for refusing to tack smiley-faces onto a tough, possibly lose-lose situation.
    • 66 Metascore
    • 83 Scott Tobias
    Margot has a kitchen-sink realism that's genuinely unsettling, like a John Cassavetes movie populated by the hyper-articulate. If nothing else, Baumbach deserves credit for refusing to cozy up to the audience.
    • 81 Metascore
    • 83 Scott Tobias
    It comes off as calculatedly irreverent at times, and its Wes Anderson-isms are too precious by half, but its sweetness is genuine and next-to-impossible to resist.
    • 83 Metascore
    • 83 Scott Tobias
    Though Chop Shop is an American film, it feels more like an Iranian movie or the Dardenne Brothers’ "Rosetta"; Bahrani introduces something like a plot point in the late-going, but he mostly focuses, to riveting effect, on how his young hero hustles and claws through everyday life.
    • 76 Metascore
    • 83 Scott Tobias
    Shine A Light pays tribute to the band's essential agelessness.
    • 79 Metascore
    • 83 Scott Tobias
    Like many debut features, Reprise is a foremost a statement of purpose, and in that respect, at least, Trier shows limitless promise.
    • 69 Metascore
    • 83 Scott Tobias
    Operation Filmmaker takes a thrilling left turn from its original conceit, and Davenport does a nice job rolling with the punches.
    • 78 Metascore
    • 83 Scott Tobias
    Given their reputations as feminist provocateurs, the coming together of Breillat and Argento seems natural, even inevitable, and The Last Mistress gets a charge from their feisty, uncompromising spirit.
    • 72 Metascore
    • 83 Scott Tobias
    Though Anderson's storytelling gets murky at times, it's still a fine showcase for his versatility, adding to an impressive, under-the-radar résumé that includes the underrated science-fiction comedy "Happy Accidents" and the first-rate horror film "Session 9."
    • 66 Metascore
    • 83 Scott Tobias
    Though it's compelling enough as soap opera, American Teen digs deeply into why kids grudgingly accept the roles they've been given and the brutal consequences that come with straying outside the lines.
    • 62 Metascore
    • 83 Scott Tobias
    Much of the fun of Baghead is that it's unclassifiable, by turns a movie-movie lark, an Eric Rohmer-like relationship comedy, and a surprisingly effective "Friday The 13th" kids-in-the-woods slasher film.
    • 70 Metascore
    • 83 Scott Tobias
    Through it all, Vicky Cristina Barcelona remains unaccountably romantic, a confirmation that love, elusive and painful as it can be, is still worth pursuing.
    • 72 Metascore
    • 83 Scott Tobias
    I Served The King Of England views diabolical events from the sidelines, something like "The Remains Of The Day" reworked as an absurdist comedy.
    • 77 Metascore
    • 83 Scott Tobias
    It's a funny, sweet-natured humanist character piece.
    • 79 Metascore
    • 83 Scott Tobias
    The film deftly sketches a sibling relationship complicated by obligation, guilt, mistrust, and, not least, an abiding love.

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