For 1,600 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Lake of Fire
Lowest review score: 0 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
1,600 movie reviews
    • 73 Metascore
    • 75 Scott Tobias
    If the end justifies the means, it would be hard to deny that the legacy of Alberto Fujimori, the disgraced former President of Peru, is largely triumphant.
    • 71 Metascore
    • 75 Scott Tobias
    The truthfulness of Winstead's performance - and those of her co-stars, too - has a steadying influence on James Ponsoldt's modest drama, which at times seems in danger of failing a sobriety test.
    • 63 Metascore
    • 75 Scott Tobias
    With Douglas, the film's shambling charms slowly catch hold, thanks mainly to his personal magnetism.
    • 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."
    • 63 Metascore
    • 75 Scott Tobias
    Sure, the unlikely ascendance of 30-year-old Vince Papale from working-class suds-pumper to Philadelphia Eagles benchwarmer is a victory for the little guy, but it's still more of a personal victory, and that's what makes it touching.
    • 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.
    • 52 Metascore
    • 75 Scott Tobias
    All calculation aside, scary is still scary, and Insidious makes up in old-fashioned tension what it sometimes lacks in originality.
    • 50 Metascore
    • 75 Scott Tobias
    Super exists in the no-man's land between indie quirk and raw exploitation, and when it works, it's thrillingly off-balance.
    • 64 Metascore
    • 75 Scott Tobias
    Some of the jokes are about skating, others are about whatever random thing happened to pop into Ferrell's head with the cameras rolling, and just about all of it is funny.
    • 76 Metascore
    • 75 Scott Tobias
    If nothing else, Shortland gives Rosendahl a star-making platform on par with Cornish’s in "Somersault": She’s a magnetic screen presence who subtly conveys not only the struggle and guilt inherent to her situation, but also a residue of hate that’s carried over from her parents. The actor, like her character, shoulders a heavy burden.
    • 69 Metascore
    • 75 Scott Tobias
    Though some of the heated exchanges in Forgiving Dr. Mengele seem awkward and staged, they put Kor at the center of a riveting debate over how best to come to terms with past horrors, and the potential (and limits) of putting them to rest.
    • 66 Metascore
    • 75 Scott Tobias
    The scenes between Gelber and Blair are the strongest in Dark Horse, because they form a bond not out of shared interests or passion, but a weary kind of compromise.
    • 57 Metascore
    • 75 Scott Tobias
    Patrick Wilson rounds out the cast as McAdams' love interest, but his presence seems necessary only to classify Morning Glory as a romantic comedy. The heart of the movie is really McAdams' wonderfully contentious relationship with Ford.
    • 70 Metascore
    • 75 Scott Tobias
    The cast, anchored by sweetly goofy Ed Helms, redeems the film at every turn, adding humor and dimension to characters who might have otherwise drowned in tacky grotesquerie.
    • 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.
    • 63 Metascore
    • 75 Scott Tobias
    Romantic comedies - and this is one, in spite of its phony irreverence - turn largely on star power, and theirs is transcendent, whether they're casually trading one-liners on the streets or doing running commentary on their sexual escapades. They'd have been better off staying in bed.
    • 78 Metascore
    • 75 Scott Tobias
    These images and reports have stirred consciences without quite stirring decisive action, and an earnest indie doc like this one seems like another cry in the wilderness.
    • 63 Metascore
    • 75 Scott Tobias
    Epstein and Friedman's doc-like approach also results in a certain dramatic stasis; Howl is a film aimed more for the head than the gut.
    • 68 Metascore
    • 75 Scott Tobias
    Not since Lecter has a role been this well suited to Hopkins, whose intelligence and pristine formality as an actor often make him seem alien--or worse, an incorrigible ham.
    • 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.
    • 74 Metascore
    • 75 Scott Tobias
    Builds to a key point about the consequences of democracies fighting terrorism by erasing its central tenets, but in doing so, it doesn't underplay the horrors wrought by Guzmán's organization.
    • 52 Metascore
    • 75 Scott Tobias
    There's a reason the underdog sports formula is followed over and over: When it's executed as skillfully as it is here, the damned thing works every time.
    • 67 Metascore
    • 75 Scott Tobias
    Working from Chantal Thomas' novel, Jacquot doesn't entirely scrape the gloss off this love triangle, which plays neither as a florid bodice-ripper nor as emotionally complex as it might have been. It stays on the surface, but at least that surface is gorgeous.
    • 57 Metascore
    • 75 Scott Tobias
    Cross may not earn the broad recognition he deserves for his performance in It's a Disaster, a droll apocalypse comedy of exceedingly modest scale and even more modest commercial appeal. But it's still a master class in how to play the straight man right.
    • 72 Metascore
    • 75 Scott Tobias
    Singer's reverence for the 1978 version edges perilously close to mimicry, as if he has no new ideas to bring to the table, but he succeeds in drawing out the Superman myth with simple power and a refreshing absence of irony.
    • 59 Metascore
    • 75 Scott Tobias
    Whatever the case, We Own The Night plays like a masterpiece because it skillfully appropriates actual masterpieces, not because it earns the label on its own merits.
    • 54 Metascore
    • 75 Scott Tobias
    It's a struggle at times, mostly because the action-movie clichés haven't been weeded out of the script, but the film is cheerfully, irresistibly destructive - an old-fashioned, "Rio Bravo" shoot-'em-up with the hicktown spirit of "Tremors," though it isn't as good as either.
    • 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.
    • 81 Metascore
    • 75 Scott Tobias
    A hypnotic 80-minute drift through nocturnal New Orleans that seeks more to pick up on bits of culture and atmosphere than to tell any stories. They blow up the conventions of documentary realism to capture the city's soul, a much more abstract, elusive undertaking.
    • 75 Metascore
    • 75 Scott Tobias
    The film gets its distinction from the performances by Cheung and Nolte, whose scenes together are suffused with loss and unexpected mutual compassion.

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