For 1,603 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:
1,603 movie reviews
    • 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.
    • 68 Metascore
    • 83 Scott Tobias
    In its best sequences, Ramsay puts her duress in dazzlingly visual terms, collapsing the past and present in an associative rush of red-streaked images and piercingly vivid moments out of time.
    • 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.
    • 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.
    • 66 Metascore
    • 83 Scott Tobias
    Though it's compelling enough as soap opera, American Teen digs deeply into why kids grudgingly accept the roles they've been given and the brutal consequences that come with straying outside the lines.
    • 79 Metascore
    • 83 Scott Tobias
    The film deftly sketches a sibling relationship complicated by obligation, guilt, mistrust, and, not least, an abiding love.
    • 64 Metascore
    • 83 Scott Tobias
    For a genre film, Killing Them Softly goes to an awfully strange, none-too-subtle place, but the choice to move the '08 election from background to overlay is unusually bold and thought-provoking, too.
    • 67 Metascore
    • 83 Scott Tobias
    A mesmerizing study of the nature of evil itself.
    • 62 Metascore
    • 83 Scott Tobias
    This is not some nostalgia-soaked throwback to the noir of old, but a rude, shit-kicking thriller that co-opts - and merrily defiles - a classic like "Double Indemnity." Whatever its shortcomings, at least they're never failures of nerve.
    • 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.
    • 71 Metascore
    • 83 Scott Tobias
    The Descent sustains a level of intensity that most horror films can barely muster for five minutes.
    • 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.
    • 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.
    • 81 Metascore
    • 83 Scott Tobias
    In an unusually subtle performance by a child actor, Kacey Mottet Klein stars as a crafty ragamuffin.
    • 72 Metascore
    • 83 Scott Tobias
    McQueen is a showy director, but his bravura long takes have the effect of heightened attentiveness, allowing scenes to build in intensity without the relief of a cut.
    • 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.
    • 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.
    • 84 Metascore
    • 83 Scott Tobias
    Trier doesn't allow the bleakness of the material to swamp the film in a miserablist tone, but he doesn't hold back, either, in revealing every hairline crack in Lie's fragile psyche.
    • 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.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 83 Scott Tobias
    Through it all, Vicky Cristina Barcelona remains unaccountably romantic, a confirmation that love, elusive and painful as it can be, is still worth pursuing.
    • 58 Metascore
    • 83 Scott Tobias
    The Dictator keeps the gags coming as fast as it can manage, sometimes in big gross-out setpieces like an impromptu baby delivery, but more often in the general fusillade of hit-or-miss jokes that hit at a better-than-average rate.
    • 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.
    • 85 Metascore
    • 83 Scott Tobias
    The film never feels entirely staid: Lu wriggles out of convention where he can, especially in the first half, and engages with history as an artist, not a hagiographer.
    • 72 Metascore
    • 83 Scott Tobias
    I Served The King Of England views diabolical events from the sidelines, something like "The Remains Of The Day" reworked as an absurdist comedy.
    • 67 Metascore
    • 83 Scott Tobias
    Like a proper action sequel, it's bigger, louder, and sillier than its predecessors, but it's more streamlined, too, smartly dumping the tired underground racing angle in favor of a crisp, hugely satisfying "Ocean's Eleven"-style heist movie.
    • 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.
    • 69 Metascore
    • 83 Scott Tobias
    Bujalski’s funny, diverting character piece has a lived-in quality that’s no small achievement.

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