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 Standard Operating Procedure
Lowest review score: 0 Extremely Loud and Incredibly Close
Score distribution:
1,507 movie reviews
    • 65 Metascore
    • 75 Scott Tobias
    To a degree, the dynamic between Brosnan and Cooper resembles Aaron Eckhart and Matt Malloy's relationship from "In The Company Of Men."
    • 86 Metascore
    • 75 Scott Tobias
    Flight was commissioned by producers overseas, and it feels similarly, impeccably slight.
    • 52 Metascore
    • 75 Scott Tobias
    Wong's visions of a New York café, a Memphis bar, and a Vegas casino--not to mention the swaths of beautiful country in the Southwest--have that enveloping quality that make his films so persistently seductive. The natives should feel flattered.
    • 67 Metascore
    • 75 Scott Tobias
    Segel has always played more a serial monogamist than a horndog, and his earnest, self-deprecating screen persona graces the film's crudest moments with a kind of innocence.
    • 57 Metascore
    • 75 Scott Tobias
    The big payoff, of course, is Neil Patrick Harris reprising his role as "Neil Patrick Harris."
    • 80 Metascore
    • 75 Scott Tobias
    A sort of distracted, freewheeling form of inquiry and observation drives Encounters At The End Of The World, a loosely constructed documentary that seems to have been made on a whim.
    • 82 Metascore
    • 75 Scott Tobias
    If the role brings her more recognition and work, all the better, but Leo certainly isn't lobbying for it. She doesn't show off. She just does what she's always done: Reveals a character for who she is, nothing more, nothing less.
    • 73 Metascore
    • 75 Scott Tobias
    Chabrol develops the inevitable confrontation between the two men like a car wreck in slow motion, and getting there takes a little more work than it should; the film takes the form of a thriller, but it doesn't have the pace of one.
    • 84 Metascore
    • 75 Scott Tobias
    It's the definition of a film meant to be admired more than loved, but Desplechin's fierce intelligence and uncompromising sense of character come through, as does some of the sharp wit and stylistic flourishes left over from his last film, 2004's "Kings And Queen."
    • 57 Metascore
    • 75 Scott Tobias
    Special recalls a minor-key "Donnie Darko," but its vision is much more limited, and it sinks into Indiewood cliché whenever it reaches for profundity.
    • 64 Metascore
    • 75 Scott Tobias
    Mostly, Nothing But The Truth operates a lot like Billy Ray's "Shattered Glass" and "Breach," offering up the sort of no-nonsense, meat-and-potatoes docudrama that's in short supply these days.
    • 63 Metascore
    • 75 Scott Tobias
    The entries aren't equally strong, of course, but each comes from a sharp outsider's perspective, approaching Tokyo as a strange, mysterious organism that infects the populace.
    • 59 Metascore
    • 75 Scott Tobias
    American Swing could use the flair of similar portraits of disco-era debauchery like "Boogie Nights" or "Inside Deep Throat," but it’s even-handed in capturing the operation’s ambition and hubris. Just don’t bring an appetite.
    • 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.
    • 48 Metascore
    • 75 Scott Tobias
    Director Burr Steers (Igby Goes Down) doesn't always have a firm handle on what is and isn't appropriate; the film makes a few sharp detours into misogyny, and the level of smuttiness is surprisingly high, which may be a function of Efron wanting to grow away from his core audience too fast.
    • 54 Metascore
    • 75 Scott Tobias
    On one level, it's a down-market Star Wars-inspired shoot-'em-up for kiddies; on another, it's a radical alien invasion story where the HUMANS are the aliens.
    • 66 Metascore
    • 75 Scott Tobias
    Baratz’s apparent willingness to accept everything at face value papers over some of the more troubling aspects of Tenzin’s mission, but Unmistaken Child allows the mysteries of the process to be preserved without judgment.
    • 65 Metascore
    • 75 Scott Tobias
    It's the product of a great dreamer and aesthete, rather than an authentic emotional experience--a gorgeous, crystalline bauble that really catches the light.
    • 53 Metascore
    • 75 Scott Tobias
    Its hero may be on a mission from above, but in a refreshing twist, the fate of mankind rests with the literate.
    • 71 Metascore
    • 75 Scott Tobias
    Lourdes starts from the unexpected position of believing miracles are possible, but it doesn’t paper over the religious and practical problems they raise--for the blessed and bereft alike.
    • 75 Metascore
    • 75 Scott Tobias
    A damning example of justice bending toward those who can most afford to buy it.
    • 72 Metascore
    • 75 Scott Tobias
    Love stories don’t come much squirmier than this one, and Alvarez plays it with honesty, insight, and the awkwardness inherent in this blindest of blind dates.
    • 61 Metascore
    • 75 Scott Tobias
    Though it's a ramshackle piece of filmmaking, Best Worst Movie is an honest one, too, staying open to awkward, humbling moments while still making a solid case for the film's immortal badness.
    • 57 Metascore
    • 75 Scott Tobias
    The primary challenge for all blockbuster franchises is to be big yet fleet. Iron Man is as good as model as any, thanks largely to Robert Downey Jr.’s flamboyantly narcissistic Tony Stark and filmmakers that valued pacing and character as much as superhero hardware.
    • 65 Metascore
    • 75 Scott Tobias
    Hill, dialing back on the pissy vulgarity of his supporting roles in "Knocked Up" and "Funny People," makes the perfect foil, as passive and impressionable as Brand is reckless and impulsive.
    • 74 Metascore
    • 75 Scott Tobias
    Davis and Heilbroner lean a bit too hard on the most outrageous forms of abuse in the pre-Stonewall era, as opposed to the everyday traumas of living in the closet, but Stonewall Uprising picks up momentum once it starts detailing the event itself, drawing on the vivid memories of the people who lived it.
    • 71 Metascore
    • 75 Scott Tobias
    Steinbauer's eagerness to draw information--and, let's face it, exclusive new clips--out of his recalcitrant subject borders on exploitation at times, but the smart, cagey Rebney has an agenda of his own that Steinbauer can't entirely control or define. The documentary gives him a forum to be his funny, irreducible self, which is a luxury the accidentally famous are rarely afforded.
    • 61 Metascore
    • 75 Scott Tobias
    Valhalla Rising has the misfortune of starting with its best chapter and steadily growing more ponderous from there, dragged down by a religious theme that's as thin as the filmmaking is relentlessly spare. Yet it's a beautiful head trip, too.
    • 48 Metascore
    • 75 Scott Tobias
    She was simultaneously a pariah and a marked woman, and Amenta respectfully honors her quixotic, deeply lonely quest for justice.
    • 61 Metascore
    • 75 Scott Tobias
    He's (Corbijn) a patient, fastidious filmmaker with a great eye-ideal for his subject here-but his austerity doesn't entirely erase the suspicion that he doesn't have much on his mind. His film is a triumph, but it may be a triumph of style over substance.