For 1,551 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.7 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 Fireproof
Score distribution:
1,551 movie reviews
    • 86 Metascore
    • 90 Scott Tobias
    Nebraska is one of Payne’s best films, a near-perfect amalgam of the acrid humor, great local color, and stirring resonances that run through his work.
    • 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.
    • 79 Metascore
    • 90 Scott Tobias
    Only Lovers Left Alive accomplishes the neat trick of reinventing a moribund genre as a distinctly Jarmuschian hangout movie.
    • 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.
    • 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.
    • 78 Metascore
    • 90 Scott Tobias
    Debut features are rarely this confident and accomplished, much less such a perfect blueprint of what to expect from a filmmaker down the line.
    • 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.
    • 84 Metascore
    • 90 Scott Tobias
    Stray Dogs evokes the whole of Tsai’s filmography, but also pays off his collaboration with Lee, who shows a side of himself that’s been hidden away for all these years.
    • 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.
    • 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.
    • 76 Metascore
    • 90 Scott Tobias
    Listen Up Philip doesn’t care to be liked. And in that, it deserves to be loved.
    • 84 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.
    • 91 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.
    • 80 Metascore
    • 85 Scott Tobias
    Greenfield's refusal to pass judgment on the Siegels lends her subjects and their marriage unexpected complexity and depth - especially Jackie, a true force of nature.
    • 81 Metascore
    • 85 Scott Tobias
    Leon isn't a flashy director, but he has an excellent sense of proportion. Gimme the Loot unfolds in a series of loose, funny, naturalistic scenes, but they never trail off into improvisational vapors.
    • 69 Metascore
    • 83 Scott Tobias
    It’s not always easy to sort out the legitimately inspired touches from the merely campy ones, but the film has a deranged, go-for-broke spirit that makes such distinctions irrelevant.
    • 81 Metascore
    • 83 Scott Tobias
    District 9 fuses science fiction mayhem and biting social commentary as well as any film since "Starship Troopers." It’s the rare alien invasion story that has the aliens running scared.
    • 68 Metascore
    • 83 Scott Tobias
    Given several years’ distance from the media blitz, Téchiné brings clarity, maturity, and perspective to the case while still subtly addressing all the thorny social issues the affair touched off.
    • 81 Metascore
    • 83 Scott Tobias
    A clever, exceedingly wonky procedural about a undercover cop (Dragos Bucur) who quietly refuses to do what he's told.
    • 61 Metascore
    • 83 Scott Tobias
    Nobody is better at capturing the crushing banality of everyday life than Judge.
    • 67 Metascore
    • 83 Scott Tobias
    For this master of mindfuckery, Synecdoche, New York probably qualifies as a magnum opus, since it essentially multiplies "Adaptation" by an exponential factor and thus grows into a snarling, ungainly beast of self-reflexive absurdities.
    • 58 Metascore
    • 83 Scott Tobias
    Though Away We Go lacks the screwball unpredictability of something like "Flirting With Disaster," it compensates with a unexpected depth of feeling, a novelist’s (or memoirist’s) sense of detail, and a panoramic view of what home means.
    • 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.
    • 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.
    • 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.
    • 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.
    • 66 Metascore
    • 83 Scott Tobias
    The thinking behind Grey's casting, with its obvious sex-industry connections, lends the film a degree of verisimilitude, but it really pays off in a cameo by film critic Glenn Kenny, who brings a hilariously sleazy theatricality to the role of an "escort critic" who expects graft for his reviews.
    • 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.

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