For 20 reviews, this critic has graded:
  • 65% higher than the average critic
  • 5% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 11.9 points higher than other critics. (0-100 point scale)

Scout Tafoya's Scores

  • Movies
  • TV
Average review score: 75
Highest review score: 100 Cosmos
Lowest review score: 0 Birth of the Dragon
Score distribution:
  1. Positive: 17 out of 20
  2. Negative: 2 out of 20
20 movie reviews
    • 68 Metascore
    • 75 Scout Tafoya
    There is nothing in this expertly-drawn character study that attempts to solve the mystery of Jeffrey Dahmer, because life rarely hands us those answers.
    • 49 Metascore
    • 63 Scout Tafoya
    There’s a horror and truth that comes from staring into the abyss, and Son of a Gun could stand to learn a little more from Michael Mann about how to convey those cinematically. It’s a little heavy on incident, and a little light on soul
    • 70 Metascore
    • 63 Scout Tafoya
    The film is routinely gorgeous, but by turning its "real" people into Malick-style characters, it erodes their humanity in an uncomfortable way.
    • 35 Metascore
    • 0 Scout Tafoya
    A preposterous screenwriting-for-dummies exercise directed with all the flare of a mid-‘90s tourism video.
    • 68 Metascore
    • 63 Scout Tafoya
    The best An Inconvenient Sequel can offer is the formidable image of Gore, nearly 70, refusing to stand down. It's inspiring, but even the filmmakers have to know it's not enough. I was moved by the movie, and then I stepped outside and looked at my phone.
    • 83 Metascore
    • 75 Scout Tafoya
    The Woman Who Left isn't as exhausting as other recent works by Diaz, like “Century of Birthing” or “Norte, The End of History,” and its grace notes are more sublime.
    • 59 Metascore
    • 75 Scout Tafoya
    The result is both a madcap success on its own bizarre terms and an informative distillation of each auteur's sensibility.
    • 72 Metascore
    • 100 Scout Tafoya
    One of the greatest science and moral fiction movies ever made.
    • 72 Metascore
    • 100 Scout Tafoya
    Reality has never been this fun, even if it's frequently this random and hopeless. Better to take the oblong fantasy.
    • 80 Metascore
    • 88 Scout Tafoya
    As the themes, characters and ideas from the first two parts begin to reappear, so too do full-figured women and gorgeous, semi-nude men right out of the earthly kingdoms of Pasolini.
    • 81 Metascore
    • 88 Scout Tafoya
    The melancholy that falls over this chapter is hard to shake but its tempered slightly by the love Gomes has for his characters, bad habits, ingrained sadness and all.
    • 80 Metascore
    • 75 Scout Tafoya
    Part one of "Arabian Nights" has many wild components and even though they adhere to their own set of aesthetic principals, they make for a strange two-hour movie (which is why it’s best to watch it with parts two and three).
    • 78 Metascore
    • 38 Scout Tafoya
    The Tribe would be a hopelessly banal arthouse wallow were it not for its setting: a school for the deaf.
    • 69 Metascore
    • 100 Scout Tafoya
    Amour fou, has gone some of the way towards correcting the historical imbalance of interest in the suicide pact. She’s taken liberties with the facts of the case for dramatic effect, but also because two centuries is a long time to go without someone wondering whether Vogel being shot point blank in the chest was entirely consensual.
    • 79 Metascore
    • 100 Scout Tafoya
    The thing you'll remember about P'tit Quinquin, over even the most perfectly timed joke or the adorably misshapen head of Quinquin, is the face of Bernard Pruvost, as the detective protecting his flock from the murderer.
    • 36 Metascore
    • 75 Scout Tafoya
    The Captive may appear to bite off a little more than it can chew but it's one of the most satisfyingly baroque thrillers of the year, and thanks to a perfectly judged performance by Ryan Reynolds, it's quietly heartbreaking, too.
    • 73 Metascore
    • 88 Scout Tafoya
    The crime at the heart of The Blue Room eventually becomes clear enough, but the people involved remain mysterious.
    • 63 Metascore
    • 88 Scout Tafoya
    The Congress, playing fast and loose with a source novel by Stanislaw Lem, splits from its version of reality at the 45-minute mark, and at that point becomes a decadent post-modern classic.
    • 50 Metascore
    • 50 Scout Tafoya
    Which isn’t to say the film is without merit. It is utterly fascinating to see classic literature re-enacted as if it were theatre, and it takes courage to grab up something as iconic in its darkness as Child of God and just play it straight.
    • 83 Metascore
    • 100 Scout Tafoya
    In the end, all that can be relied upon are objects and gestures. The littlest things that tie us to each other. The film often slows to a standstill to show children playing, cars passing, people talking and streets emptied of traffic.

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