For 1,632 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.1 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The Turin Horse
Lowest review score: 0 Bruce Almighty
Score distribution:
1,632 movie reviews
    • 68 Metascore
    • 83 Scott Tobias
    Doubt is a complex, thematically loaded piece of work, and though it isn't enhanced on film, it deserves the wider exposure.
    • 83 Metascore
    • 83 Scott Tobias
    The Secret Of The Grain stretches out at the relaxed pace of a seven-course meal, but at the end of it, Kechiche has squeezed the most he can out of percolating dramas within the family and he lets the audience get to know its members without needing to throw them all a subplot.
    • 81 Metascore
    • 83 Scott Tobias
    A caustic, witty, regretful elegy for a place so transformed that it's virtually unrecognizable.
    • 76 Metascore
    • 83 Scott Tobias
    At its best, Serbis is a vibrant slice of life that establishes this theater as a living organism, nurturing a society of outcasts; it's like "Ship Of Fools" with blowjobs and boil-lancings.
    • 61 Metascore
    • 83 Scott Tobias
    Fighting doesn’t break new ground so much as animate B-movie types, but New York movies this gritty and flavorful don't come along very often.
    • 64 Metascore
    • 83 Scott Tobias
    At a minimum, his new film, Adoration, marks a welcome return to the Egoyan of old, the one who could spin seductive mysteries out of disassembled parts and show how images can be manipulated into comforting lies.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 83 Scott Tobias
    Bujalski’s funny, diverting character piece has a lived-in quality that’s no small achievement.
    • 61 Metascore
    • 83 Scott Tobias
    Nobody is better at capturing the crushing banality of everyday life than Judge.
    • 66 Metascore
    • 83 Scott Tobias
    The value of No Impact Man, a compelling and suitably exasperating documentary about one family’s attempt to not harm the environment for a year, is that it forces viewers to reflect on their own casual consumption and waste.
    • 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
    A clever, exceedingly wonky procedural about a undercover cop (Dragos Bucur) who quietly refuses to do what he's told.
    • 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.
    • 77 Metascore
    • 83 Scott Tobias
    The Ghost Writer may not go down as one of Polanski’s masterpieces, but if it does end up being his swan song, it’s the ideal denouement to a life and career of unsettling resonance.
    • 68 Metascore
    • 83 Scott Tobias
    Gibney has enough material for a dozen movies here, but his attempt at an overview, however unwieldy, paints one hell of a nauseating picture.
    • 70 Metascore
    • 83 Scott Tobias
    Currently serving out a sentence that will likely consume the remainder of his life, Spector turns the interview into a trial on his own terms--one that's gripping, revelatory, and a little self-incriminating.
    • 64 Metascore
    • 83 Scott Tobias
    Great casting takes The Other Guys most of the way: Ferrell draws a wealth of good material from his character's oddball ineffectuality, and he partners perfectly with Wahlberg, who's always best at his most incredulous.
    • 76 Metascore
    • 83 Scott Tobias
    Soul Kitchen plays everything big and loud-and sometimes too doggedly conventional-but it's the rare example of a crowd-pleaser made without cynicism or calculation.
    • 69 Metascore
    • 83 Scott Tobias
    Enter The Void is a trance-like experience, feeding the shimmering neon of Tokyo at night into a spectacular hallucinogenic head-trip.
    • 78 Metascore
    • 83 Scott Tobias
    Though narrower in scope and lacking the first-person angle, Waste Land resembles Agnès Varda's great 2000 documentary "The Gleaners & I," particularly in its awe of tough, creative, hard-working people who live on the margins.
    • 65 Metascore
    • 83 Scott Tobias
    Ficarra and Requa are more comfortable being bad: The nastier the film gets, the better it is.
    • 79 Metascore
    • 83 Scott Tobias
    Bale's live-wire performance typifies the many major and minor elements that elevate The Fighter from the deeply conventional sports movie it might have been into the endearingly offbeat sports movie it turns out to be.
    • 81 Metascore
    • 83 Scott Tobias
    Denis brings it all together for a genuinely shocking finale, unexpected, yet in keeping with the film's consuming madness.
    • 65 Metascore
    • 83 Scott Tobias
    When We Leave is a film without villains. Instead, it features a set of circumstances that inevitably and needlessly spin out of control.
    • 64 Metascore
    • 83 Scott Tobias
    Broadly speaking, Canner hails from the Michael Moore school of first-person editorializing, but Orgasm Inc. isn't given to vanity or cheap shots.
    • 70 Metascore
    • 83 Scott Tobias
    Far from being a liability, Dolan's youthfulness gives it unmistakable vibrancy: This is a love-crazy, movie-crazy affair, laying bare its emotions just as plainly as its influences.
    • 67 Metascore
    • 83 Scott Tobias
    A mesmerizing study of the nature of evil itself.
    • 76 Metascore
    • 83 Scott Tobias
    It's no insult to say that the fine documentary Bill Cunningham New York resembles one of those minor profiles found in The New Yorker's "Talk Of The Town" section: a slight, glancing, yet subtly wrought slice of New York life. And it seems likely that the exceedingly modest Cunningham would want it that way.

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