For 1,382 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 1.4 points higher than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
Average review score: 60
Highest review score: 100 Zodiac
Lowest review score: 0 Fired Up!
Score distribution:
1,382 movie reviews
    • 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.
    • 87 Metascore
    • 90 Scott Tobias
    This film confirms that Panh approaches the past not as a historian, but as an artist, and an exceptionally vital one at that.
    • 77 Metascore
    • 90 Scott Tobias
    Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.
    • 76 Metascore
    • 90 Scott Tobias
    The simplified, handheld camerawork and the idea of “cutting for emotion” rather than continuity gets the most out of his actors, who are free to clash and improvise within a scene without worrying about hitting their marks.
    • 71 Metascore
    • 83 Scott Tobias
    The Descent sustains a level of intensity that most horror films can barely muster for five minutes.
    • 74 Metascore
    • 83 Scott Tobias
    Mexican writer-director Fernando Eimbcke got his start in short films and documentaries, and his first feature reveals a gift for concision: It doesn't overexert itself trying to come to big conclusions about these characters, and even the comedic scenes settle for gentle quirks over broad guffaws.
    • 71 Metascore
    • 83 Scott Tobias
    Much like his father Ivan (Ghostbusters), first-time director Jason Reitman has a broad, anything-goes comedic sensibility that allows silly gags and incidental humor to sneak in alongside the satirical barbs.
    • 76 Metascore
    • 83 Scott Tobias
    With juicy supporting roles for Chiwetel Ejiofor and Willem Dafoe as Washington's fellow officers, the film works best when the characters are just sitting back and shooting the breeze, which is what they're doing much of the time. Here, puzzling out a robbery is more fun than stopping it.
    • 69 Metascore
    • 83 Scott Tobias
    Though it occasionally dips too deep into a well of redneck humor, Slither cleverly exploits the nervous laughter that fills a theater whenever a horror movie gets too frightening to bear.
    • 62 Metascore
    • 83 Scott Tobias
    Zahedi isn't afraid to put himself out there, even when his thoughts and actions are profoundly unflattering; his self-effacement makes the film a reflection on narcissism and misogyny rather than an exercise in both.
    • 61 Metascore
    • 83 Scott Tobias
    Edmond would probably be completely unapproachable were it not spiked with so much dark wit, much of it coming from Macy's painful naïveté and cheapness, which comes through in negotiations with various women of the night.
    • 65 Metascore
    • 83 Scott Tobias
    While it never approaches the richness and gravity of a great Mann film like "Heat," Miami Vice blurs the thin blue line to similar effect, and he features a couple of bravura setpieces, including a tense raid on an enemy hideout and a shootout with chaotic, you-are-there immediacy. If only all summer movies were this majestically slight.
    • 75 Metascore
    • 83 Scott Tobias
    It thoroughly eviscerates the MPAA and makes a solid case that the culture has paid the price for its censorious practices. His (Dick's) attacks are the equivalent of shooting ducks in a barrel, but these ducks had it coming.
    • 72 Metascore
    • 83 Scott Tobias
    Though Climates lacks "Distant's" haunted, poetic melancholy, it has a vivid, sensual texture that's unmistakably Ceylan's. He's one of those rare directors who doesn't need a credit for identification.
    • 49 Metascore
    • 83 Scott Tobias
    With a few self-conscious exceptions, Soderbergh makes an earnest attempt to return to that place and time in both history and American filmmaking, and his risk-taking pays fascinating dividends.
    • 85 Metascore
    • 83 Scott Tobias
    Most of all, The Host functions as a popcorn movie par excellence, loaded with the most familiar conventions, but shot through with such conviction and visual panache that even its clichés seem invigorating.
    • 73 Metascore
    • 83 Scott Tobias
    The Lookout's thriller elements could stand to be more surprising, but they're ultimately in service of a better understanding of the characters. Usually, it's the other way around.
    • 61 Metascore
    • 83 Scott Tobias
    Meet The Robinsons takes a large step toward making 3D a sustainable format, the CinemaScope of tomorrow.
    • 77 Metascore
    • 83 Scott Tobias
    Resnais and Ayckbourn care primarily about observing these characters' private and public faces, who they are and who they present themselves as. To that end, they've achieved a mood of enchanting intimacy.
    • 78 Metascore
    • 83 Scott Tobias
    Under Fresnadillo's assured direction, 28 Weeks Later blurs the line between genre entertainment and a photojournalist's shots of the next urban catastrophe.
    • 78 Metascore
    • 83 Scott Tobias
    Like many French films of its kind, Private Property remains content to simply observe a situation without tidying up the narrative, which in this case leaves some big questions unanswered. But Lafosse knows that problems that beg for a resolution sometimes don't get one.
    • 54 Metascore
    • 83 Scott Tobias
    It's a hilariously half-baked scheme, one that quickly turns them from hunters to hunted, but the strength of The Hunting Party is its shaggy-dog quality.
    • 85 Metascore
    • 83 Scott Tobias
    The frequent outbursts of comedy help alleviate a tone that's appropriately muted and sad, and Jenkins should be credited for refusing to tack smiley-faces onto a tough, possibly lose-lose situation.
    • 66 Metascore
    • 83 Scott Tobias
    Margot has a kitchen-sink realism that's genuinely unsettling, like a John Cassavetes movie populated by the hyper-articulate. If nothing else, Baumbach deserves credit for refusing to cozy up to the audience.
    • 81 Metascore
    • 83 Scott Tobias
    It comes off as calculatedly irreverent at times, and its Wes Anderson-isms are too precious by half, but its sweetness is genuine and next-to-impossible to resist.
    • 83 Metascore
    • 83 Scott Tobias
    Though Chop Shop is an American film, it feels more like an Iranian movie or the Dardenne Brothers’ "Rosetta"; Bahrani introduces something like a plot point in the late-going, but he mostly focuses, to riveting effect, on how his young hero hustles and claws through everyday life.
    • 76 Metascore
    • 83 Scott Tobias
    Shine A Light pays tribute to the band's essential agelessness.
    • 79 Metascore
    • 83 Scott Tobias
    Like many debut features, Reprise is a foremost a statement of purpose, and in that respect, at least, Trier shows limitless promise.
    • 69 Metascore
    • 83 Scott Tobias
    Operation Filmmaker takes a thrilling left turn from its original conceit, and Davenport does a nice job rolling with the punches.
    • 78 Metascore
    • 83 Scott Tobias
    Given their reputations as feminist provocateurs, the coming together of Breillat and Argento seems natural, even inevitable, and The Last Mistress gets a charge from their feisty, uncompromising spirit.