For 1,507 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.8 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
1,507 movie reviews
    • 100 Metascore
    • 100 Scott Tobias
    Virtually every Super Technirama frame of Luchino Visconti's 1963 masterpiece The Leopard could be described as "painterly" in its ornate details and exquisitely balanced color compositions. (Review of DVD Release)
    • 97 Metascore
    • 100 Scott Tobias
    4 Months unfolds like one of those street-level Dardenne brothers movies (Rosetta, L'Enfant).
    • 97 Metascore
    • 90 Scott Tobias
    [McQueen's] film is a tough, soul-sickening, uncompromising work of art that makes certain that when viewers talk about the evils of slavery, they know its full dimension.
    • 95 Metascore
    • 100 Scott Tobias
    Zero Dark Thirty stands to become the dominant narrative about this important historical event, no matter its distortions, composites, or other slippery feints of storytelling. In that, it wields a dangerous power.
    • 95 Metascore
    • 100 Scott Tobias
    Beyond the impeccable performances and direction, it's foremost an exceptional piece of screenwriting, so finely wrought that the drama seems guided by an invisible hand.
    • 94 Metascore
    • 91 Scott Tobias
    For the first hour or more, The Hurt Locker boldly forsakes any conventional narrative hook beyond the ongoing tensions between these men and the terrifying grind of defusing bombs day after day.
    • 94 Metascore
    • 90 Scott Tobias
    Good comedies are rare, but rarer still are those that conflate laughter with intimacy.
    • 94 Metascore
    • 91 Scott Tobias
    Carlos is mostly tense and thrilling, revealing the poisonous side of global citizenship.
    • 94 Metascore
    • 100 Scott Tobias
    A director known for the icy classicism and genre subversion of films like "Funny Games" and "Caché," Haneke has a pitilessness that could not be more perfect for Amour, which would collapse at any whiff of sentimentality.
    • 92 Metascore
    • 91 Scott Tobias
    The beauty of The Class is that it puts the lie to the one-teacher-can-make-a-difference myth propagated by so many other films.
    • 92 Metascore
    • 100 Scott Tobias
    The film evolves into a simple, intimate, acutely emotional portrait of a family reaching a painful crossroads.
    • 91 Metascore
    • 91 Scott Tobias
    The six men have different personalities that suggest varying styles of leadership, but what's remarkable about The Gatekeepers is how they speak in one voice about the moral complexities of their former jobs and their extreme pessimism about the future.
    • 90 Metascore
    • 91 Scott Tobias
    After Hours is a caffeinated black comedy with an emphasis on speed. With a small crew and a tight shooting schedule, Scorsese transformed limited means into a staccato burst of creative energy, playing up the extreme paranoia and frustration of a data processor stranded in Soho.
    • 90 Metascore
    • 80 Scott Tobias
    At its best, Bloody Sunday produces the same chilling illusion of history writ large, clearly detailing the strategies of both sides, then blankly observing the conflict through unadorned, newsreel camera stock and the precise orchestration of large-scale chaos.
    • 90 Metascore
    • 100 Scott Tobias
    Her
    Her is a 21st-century love story that perfectly captures the mood of the times and finds new inroads into the exhilaration and heartbreak that have existed since the first “I love you.”
    • 90 Metascore
    • 75 Scott Tobias
    Pleasing mainly just as a message-in-a-bottle from a restless, persecuted artist-that is, until the amazing closing shot, which brings the volatility of post-Green Revolution Iran home with unforgettable force.
    • 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."
    • 90 Metascore
    • 80 Scott Tobias
    The action sequences are choreographed with the crackerjack timing expected from Pixar, but the film's funniest and most affecting moments exploit the tension between a special family and a world that insists on dulling them down.
    • 90 Metascore
    • 80 Scott Tobias
    With a lovably cantankerous sense of humor and an honest strain of hard realism and pathos, the film thrives on the tension that comes from an artist who devotes himself to the truth, but watches his image get away from him.
    • 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.
    • 89 Metascore
    • 80 Scott Tobias
    A big, family-style Italian dinner, catered to the broadest tastes, yet satisfying all the same.
    • 89 Metascore
    • 80 Scott Tobias
    Ida
    Ida’s piercing intimacy makes the deepest impression, but its vision is deceptively wide-reaching despite a scale that’s deliberately pared-down and small.
    • 89 Metascore
    • 75 Scott Tobias
    What distinguishes Goodbye Solo, beyond Savané’s larger-than-life personality bumping up against West’s intractable curmudgeon, is the continued particularity of Bahrani’s work.
    • 89 Metascore
    • 90 Scott Tobias
    A surprisingly bittersweet love story at heart, Eternal Sunshine values the sum of experience, which in this case means a thorns-and-all openness to romantic possibilities.
    • 88 Metascore
    • 91 Scott Tobias
    It helps that the actors' faces are so mesmerizing, particularly Manjinder Virk as Lorraine.
    • 88 Metascore
    • 80 Scott Tobias
    In the wild and consistently surprising Y Tu Mamá También, anything isn't the half of it.
    • 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.
    • 88 Metascore
    • 100 Scott Tobias
    Cantet's masterful study of a white-collar businessman in decline.
    • 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.