For 1,614 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 0.3 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 Cats & Dogs: The Revenge of Kitty Galore
Score distribution:
1,614 movie reviews
    • 75 Metascore
    • 90 Scott Tobias
    Emerges as something rare, an issue movie that's so honest and keenly observed that it doesn't feel like one. It earns its thesis statement through minute details and a unique grasp of a commonplace problem.
    • 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."
    • 77 Metascore
    • 90 Scott Tobias
    What really sets The Immigrant apart is how urgent it feels. Historical dramas often have a reserve that comes with perspective, but nearly a full century removed from this story, Gray seems, if anything, more emotionally invested here than in his contemporary dramas.
    • 87 Metascore
    • 90 Scott Tobias
    What makes The Duke Of Burgundy so affecting is how deftly Strickland and his remarkable actresses bring something as exotic as lesbian S&M into the realm of the ordinary and relatable. Viewers can see themselves in Cynthia and Evelyn, whether they’re hand-washing each other’s undergarments or not.
    • 70 Metascore
    • 90 Scott Tobias
    Though shorn of 20 minutes for its U.S. debut, the film's wry comic portrait of the Japanese Occupation during WWII hasn't lost any of its incendiary brilliance, both as a political provocation and as a brusquely humane take on the horrors and absurdity of war.
    • 88 Metascore
    • 90 Scott Tobias
    This isn’t merely about the follies of a misanthrope, it’s an epic tragedy about life in the Ivory Tower and the inability to understand—much less empathize with—other human beings.
    • 87 Metascore
    • 90 Scott Tobias
    Östland writes the conflict between husband and wife beautifully, like a scab that gets picked at until it bleeds, and he does things cinematically, too, to suggest the growing distance between them—an already-cool visual palette broadens like a yawning chasm.
    • 82 Metascore
    • 90 Scott Tobias
    George Washington is a mood piece first, and its triumph is in bottling up the intense feeling of early adolescence, and watching how tragedy transforms it.
    • 69 Metascore
    • 90 Scott Tobias
    Seasoned with amusing bits of fantasy, like a pizza topping that briefly curls into a smile, Friday Night captures the city at its most inviting, alive with the feeling that wonderful things can happen to ordinary people.
    • 82 Metascore
    • 90 Scott Tobias
    Even when the plot kicks in and the stakes get raised, there’s a casualness to Guiraudie’s approach that’s singular and admirably defiant of genre expectations. He’s setting a scene. Tension insinuates itself later.
    • 85 Metascore
    • 90 Scott Tobias
    Farhadi isn’t interested in judging his characters so much as comprehending them in all their complexity, and registering the consequences of their actions, particularly on children.
    • 73 Metascore
    • 90 Scott Tobias
    As the film takes shape, the form and the subject develop a fascinating symbiosis, with Derrida cast as an active participant in the deconstruction of his own documentary.
    • 76 Metascore
    • 90 Scott Tobias
    Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
    • 78 Metascore
    • 90 Scott Tobias
    Malick's powerful intermingling of brutality and beauty, his signature cutaways to indigenous flora and fauna, and the gentle lyricism of his disjunctive narration and painterly images are too rich to fully register in a single viewing.
    • 85 Metascore
    • 90 Scott Tobias
    Payne, the great satirist behind "Citizen Ruth" and "Election," loves to populate his films with throwaway details, which in About Schmidt accumulate into a portrait of Midwestern life that's almost chilling in its exactitude.
    • 46 Metascore
    • 90 Scott Tobias
    Summer Phoenix has a screen presence that's simultaneously distancing and transfixing, an inscrutability that makes her seem either mysterious or a complete blank.
    • 74 Metascore
    • 90 Scott Tobias
    Breaking from the Spielberg oeuvre, Munich isn't a particularly hopeful movie, but it's a fair and morally dignified one.
    • 80 Metascore
    • 90 Scott Tobias
    Few directors are capable of marrying ideas and entertainment—one is often sacrificed for the other—but Spielberg peppers one gripping action setpiece after another with trenchant details about a near-future robbed of the most basic freedoms and privacy.
    • 86 Metascore
    • 90 Scott Tobias
    With startling clarity and dreadful logic, Loach and Laverty make sense of every bad choice Compston makes until he runs out of options, locked into a destiny that he can't escape, mainly because his good intentions are clouded by tragic naivete.
    • 79 Metascore
    • 90 Scott Tobias
    A viscerally punishing study of repression and masochism, carried out with the utmost discretion and chilling reserve.
    • 72 Metascore
    • 90 Scott Tobias
    Replace the toy box with the arcade machine, and Wreck-It Ralph is basically a repurposed "Toy Story" movie, suffused with the same mix of adventure and nostalgia and themes of friendship and the existential crises that come with age. A cynic might dismiss the film as reheated leftovers. But that cynic would be wrong, because those leftovers are delicious.
    • 70 Metascore
    • 90 Scott Tobias
    Much like "School Of Rock," Bad Santa salvages a tired, paint-by-numbers formula by resisting it every step of the way, stubbornly refusing to stop its juvenile fun until the last possible moment.
    • 79 Metascore
    • 90 Scott Tobias
    Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.
    • 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.
    • 89 Metascore
    • 90 Scott Tobias
    DuVernay stages well-known public events like the “Bloody Sunday” march with scrupulousness, scope, and a gut-wrenching visceral power. But Selma’s true success is as a chamber piece, not a thundering historical epic.
    • 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
    • 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.
    • 83 Metascore
    • 90 Scott Tobias
    Far from the solemn earnestness of most Holocaust documentaries, Fighter addresses the war and its oft-toxic reverberations with refreshing impudence and candor.
    • 74 Metascore
    • 90 Scott Tobias
    Computer Chess may seem like a novelty item, but it’s that and more, accumulating insight and substance without ever losing the fun of being a lark.

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