For 1,630 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 0.1 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Silent Light
Lowest review score: 0 The Stepfather
Score distribution:
1,630 movie reviews
    • 85 Metascore
    • 50 Scott Tobias
    The film's visceral assault extends to the sledgehammer script, an amassment of unsubtle ironies and war-is-hell clichés that often reduce it to an amateurish theatrical stunt.
    • 85 Metascore
    • 40 Scott Tobias
    Coogler isn’t exactly an invisible hand. He pokes and prods his audience at every turn: Neither the false moments nor the powerful ones leave much mystery about how we’re supposed to feel.
    • 84 Metascore
    • 58 Scott Tobias
    There's none of the poetry of "For All Mankind," just visual support for a meat-and-potatoes recap of events that have already been chewed over plenty.
    • 83 Metascore
    • 50 Scott Tobias
    Avatar is a weak patchwork of his other films: the leaden voiceover from "Terminator 2" here, the military/civilian conflict from "Aliens" there, even a Jack-and-Rose-style forbidden love story cued to adult-contempo soundtrack.
    • 82 Metascore
    • 60 Scott Tobias
    Settles into pleasant monotony and repetition, without any narrative arc or purpose. Seasoned bird-watchers, however, may find that the sensory overload leaves them close to spiritual nirvana.
    • 81 Metascore
    • 58 Scott Tobias
    The film feels oddly slack and inert, livened only by testimony better suited to another forum.
    • 81 Metascore
    • 60 Scott Tobias
    Norte is the rare film where the characters seem simpler the longer we spend time with them. They’re humans that evolve into types.
    • 79 Metascore
    • 60 Scott Tobias
    The film is often a rough, searching, unfocused piece of work, but at a minimum, it affirms Bell as a talent to watch both as an actress and a writer-director, one with a strong, developing comedic sensibility.
    • 79 Metascore
    • 60 Scott Tobias
    Schrader has always been better as a writer and a critic than as a dramatist, which is why his most successful work has either been published in film journals or directed by Martin Scorsese. His flat, awkward staging diminishes some good performances -- particularly those of Nolte and a welcome Sissy Spacek.
    • 78 Metascore
    • 50 Scott Tobias
    In the scope of things, Ohwon's story is a route into the larger story of an uncertain and tumultuous period in Korea, and it's here that Chi-hwa-seon loses its grip.
    • 78 Metascore
    • 60 Scott Tobias
    Sags into a dreary, humorless family melodrama.
    • 78 Metascore
    • 50 Scott Tobias
    Without the landscape or the heroine expressing themselves particularly sharply, Tracks is just a taciturn young woman wandering through the desert for months. In other words, a slog.
    • 77 Metascore
    • 60 Scott Tobias
    If the purpose of The Hunting Ground is to raise awareness and call viewers to action, then mission accomplished. But the tactics used are often graceless and propagandistic, and take away from the moving testimonials and the on-the-ground organization at the film’s core.
    • 76 Metascore
    • 50 Scott Tobias
    The scattered insights in This So-Called Disaster aren't worth the sifting it takes to find them.
    • 76 Metascore
    • 60 Scott Tobias
    For all of Audrey Tautou's considerable charm in the title role, Jeunet's need for a well-ordered universe proved as suffocating and exhausting as being trapped on an amusement-park ride.
    • 76 Metascore
    • 50 Scott Tobias
    What should be a momentous occasion instead gets anonymously processed through the Doc-U-Matic, with exhilarating live material cut into a sloppy assemblage of interviews, archival footage, and awkward reenactments.
    • 75 Metascore
    • 60 Scott Tobias
    If Pistol Opera turns out to be Suzuki's swan song, instead of just an anticlimactic comeback, no one can claim he didn't go out on his own stubborn terms.
    • 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.
    • 75 Metascore
    • 58 Scott Tobias
    Mostly, 24 City falls into the same Jia trap of inadvertently drawing the viewers' gaze past his human subjects and to the poetic images of a country in painful metamorphosis.
    • 75 Metascore
    • 50 Scott Tobias
    Pleasing low-key comedy.
    • 74 Metascore
    • 50 Scott Tobias
    When pinned mostly in the man's bedroom, Amenábar's flashier instincts are stifled by a bolted camera and a procession of issue-of-the-week clichés.
    • 74 Metascore
    • 60 Scott Tobias
    In spite of the uniformly strong performances, 13 Conversations largely factors out human nature, leaving a giant puzzle where each piece is pre-determined to fall into place. In the end, the Sprechers have a movie for people who brag about finishing the New York Times Sunday crossword in pen.
    • 74 Metascore
    • 60 Scott Tobias
    Mommy puts all its personal baggage on the table like Ally Sheedy emptying her purse in The Breakfast Club, and Dolan is to be admired for sharing so much of himself, and doing it with such evident passion. But it isn’t enough for an artist simply to share—he has to shape, too.
    • 74 Metascore
    • 60 Scott Tobias
    Based on its thrillingly fractured first half - not to mention "Moon" in its entirety - Jones seems much smarter than he allows the film to be in the end. It wriggles out of its own intriguing puzzle.
    • 73 Metascore
    • 60 Scott Tobias
    Doesn't function nearly as well as a standalone piece, mainly because it's stuck with the thankless task of mopping up after the other two.
    • 73 Metascore
    • 58 Scott Tobias
    There's no organizing principle in Ivanova's documentary, which unfolds in a ragged, seat-of-the-pants style that mirrors its subject's day-to-day life all too closely. Nenya's flock proves too big for the film to wrangle.
    • 72 Metascore
    • 40 Scott Tobias
    Go
    Escapism of the worst sort, a manipulative exercise in style that preys on the passivity of its characters and its audience. In the end, Go offers little more than the sour, impermanent rush of a pixie stick.
    • 72 Metascore
    • 50 Scott Tobias
    Starts in one direction, then performs a cruel narrative fake-out, sandwiching together two different movies that are scarcely related.
    • 72 Metascore
    • 60 Scott Tobias
    As it settles in, the thrilling chutzpah of The Blue Room’s opening salvo gets lost in the intricate curlicues of the plot, which take away much of its illicit rush.
    • 72 Metascore
    • 60 Scott Tobias
    The film is righteous but propagandistic, gearing its considerable insight into the Deepwater disaster and its aftermath into a narrow, prodding call to arms. For a documentary wide-ranging to the point of being diffuse, the last-ditch rallying cry seems entirely out of place. It undermines its own complexity.

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