Scott Tobias

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For 1,914 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 3.9 points lower than other critics. (0-100 point scale)

Scott Tobias' Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Sansho the Bailiff
Lowest review score: 0 AVPR: Aliens vs Predator - Requiem
Score distribution:
  1. Positive: 975 out of 1914
  2. Mixed: 722 out of 1914
  3. Negative: 217 out of 1914
1914 movie reviews
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    • 73 Metascore
    • 60 Scott Tobias
    Billie Eilish - Hit Me Hard and Soft: The Tour (Live in 3D)
    Though Hit Me Hard and Soft doesn’t “reinvent” the concert film, as the promotional language promises, Cameron’s mastery with 3D photography does make for an immersive experience, and there are some playful touches, too, like a handheld 3D camera that Eilish often holds in her right hand while the microphone rests in her left.
    • 62 Metascore
    • 60 Scott Tobias
    The Devil Wears Prada 2
    The more Frankel and McKenna acknowledge that their fresh-out-of-college heroine is now a seasoned editor in her 40s, the better The Devil Wears Prada 2 gets, not least because it doesn’t have to jettison the upscale fantasies and juicy machinations of Miranda's world entirely. Like Miranda herself at one point in the movie, it’s healthy to spend a little time flying in coach.
    • 58 Metascore
    • 50 Scott Tobias
    Mother Mary
    The words these characters say to each other are mostly boring and obscure, and it’s a mad scramble to figure out what’s making them so agitated. Keeping up with the film becomes as hard as it is to care.
    • 47 Metascore
    • 50 Scott Tobias
    Lee Cronin's The Mummy
    The Mummy takes its silliness far too seriously.
    • 53 Metascore
    • 40 Scott Tobias
    You, Me & Tuscany
    It’s a piece of escapism that can’t escape from itself.
    • 60 Metascore
    • 50 Scott Tobias
    A Magnificent Life
    It’s a testament to the beauty of Chomet’s visual style that the picture book images of Paris and Marseille in the mid-20th century are transporting enough to make A Magnificent Life a comfortable sit. But Pagnol deserves better than this limp eulogy.
    • 58 Metascore
    • 50 Scott Tobias
    Ready or Not 2: Here I Come
    The satirical promise of Ready or Not 2 leads to few comic payoffs—or even much resembling a joke, despite the film’s irreverent tone—and the snippiness between Grace and Faith seems forced after they’ve been taking fire together for so much of the film. Here’s hoping that Ready or Not 3: Olly Olly Oxen Free better meets the moment.
    • 49 Metascore
    • 40 Scott Tobias
    Reminders of Him
    Reminders of Him is a disciplined mediocrity, sticking to picture postcard images and a happy ending that’s so much easier to achieve than the story allows. Next time, please have the courtesy to be crazier.
    • 73 Metascore
    • 50 Scott Tobias
    Hoppers
    Chong seems to intend for an escalating series of comic events that get more giddily absurd as it approaches the climax, but the film loses its soul in the process. Hoppers longs for the quiet beatitude of nature, but it’s just another noisemaker.
    • 61 Metascore
    • 40 Scott Tobias
    Dreams
    Aside from a lively stretch toward the end of the film where Jennifer and Fernando wrestle on equal footing, literally as well as figuratively, Dreams is blunt in its intentions and programmatic in its plotting.
    • 44 Metascore
    • 40 Scott Tobias
    Dracula
    Besson seems more at home making pop art than gothic tragedy, but the neither-here-nor-there quality of Dracula makes it chintzy and unsatisfying on both fronts. In a word, it sucks.
    • 50 Metascore
    • 40 Scott Tobias
    Shelter
    To want Statham to appear like he cares about any of it is to ask too much.
    • 63 Metascore
    • 50 Scott Tobias
    H Is for Hawk
    Only a scene where Helen defends her hunting trips with Mabel as “an honest encounter with death” suggests the tougher, more provocative movie that might have been. This one is mostly a genteel therapy arc.
    • 67 Metascore
    • 50 Scott Tobias
    Dead Man's Wire
    Dead Man’s Wire is a curious shrug of a movie, especially from a director like Gus Van Sant, who has picked up some ho-hum work-for-hire assignments in the past, such as Finding Forrester or Promised Land, but usually puts some more spin on the ball.
    • 65 Metascore
    • 50 Scott Tobias
    The Housemaid
    The performances, particularly Seyfried’s, keep the film popping, along with some energetic rug-pulling from Feig, who treats the material like a deadly telenovela. But at an exhausting 131 minutes, it’s an indulgent feast on empty calories.
    • 53 Metascore
    • 60 Scott Tobias
    Silent Night, Deadly Night
    Though he still doles out kills in a thin broth, Nelson puts enough craft and spin on the material to make it better than it has any right to be. Making the best Silent Night, Deadly Night is the very definition of a modest achievement.
    • 58 Metascore
    • 50 Scott Tobias
    Wicked: For Good
    The sturdiness of Elphaba and Glinda’s bond throughout these tragic miscues—and Erivo and Grande’s fine dramatic and vocal performances—give this rickety enterprise a solid foundation.
    • 71 Metascore
    • 60 Scott Tobias
    Predator: Badlands
    Predator: Badlands may be formulaic and a little cutesy, but its relentless crowd-pleasing instincts wear down your defenses. You feel like the Dek to its Thia.
    • 60 Metascore
    • 50 Scott Tobias
    Dracula
    It’s fitfully inspired in stretches, as Jude runs various creative scenarios through a mirthless AI generator, but as a viewer, being inundated with crap still hurts, even when there’s a satirical purpose.
    • 59 Metascore
    • 50 Scott Tobias
    Springsteen: Deliver Me from Nowhere
    Cooper leans toward a chronicle of Springsteen’s depression, which makes sense given his emotional state at the time, but too much of the film is explained when it’s better dramatized. The act of turning angst into music is more dynamic than finding every source for it.
    • 61 Metascore
    • 40 Scott Tobias
    Black Phone 2
    Derrickson’s instinct to lean on a low-res, Super 8-style camerawork in the film’s frequent dream sequences is fitfully effective, rendering nightmares like spools of home movies that have been decaying in the attic. But here, he’s having to reanimate a dead property.
    • 52 Metascore
    • 50 Scott Tobias
    After the Hunt
    The cast does well to make the button-pushing read like complexity—Stuhlbarg, the secret MVP of Call Me By Your Name, acquits himself best here, too— but it all looks a bit like Guadagnino is pleading for mercy for adults who should know better. No, thanks.
    • 57 Metascore
    • 50 Scott Tobias
    Spinal Tap II: The End Continues
    The best scenes in Spinal Tap II are either solid improvisational sessions between the three leads as the band tries to recover its long chemistry or sidebars with Nigel.
    • 64 Metascore
    • 60 Scott Tobias
    The Lost Bus
    The film indulges in the Speed-like fantasy that a skilled and intrepid bus driver can blow through the inferno, but that’s Hollywood. The Lost Bus is convincing enough to expose its own nonsense.
    • 56 Metascore
    • 60 Scott Tobias
    Fast X
    Vin Diesel et al return for an overstuffed Fast and Furious chapter that delivers giddily effective action but an outsized and silly villain.
    • 75 Metascore
    • 60 Scott Tobias
    Zombi Child
    The film can feel worked-over and schematic, as if Bonello was too preoccupied with serving the thesis to trust his peerless intuition.
    • 46 Metascore
    • 40 Scott Tobias
    In the Tall Grass
    Natali whips up an atmospheric frenzy in kind, but every new addition is a subtraction. Two characters condemned to an eternal game of “Marco Polo” is scary enough on its own.
    • 51 Metascore
    • 40 Scott Tobias
    The Song of Names
    It’s a fatally old-fashioned and lugubrious historical drama, muting the emotional payoff it labors so hard to deliver.
    • 61 Metascore
    • 50 Scott Tobias
    Disappearance at Clifton Hill
    Shin’s film gets tangled up in its own web. ... His film leaves a vivid impression without quite leaving a mark.
    • 69 Metascore
    • 40 Scott Tobias
    The Elephant Queen
    There’s no denying the emotional pull of Victoria Stone and Mark Deeble’s storytelling or the vivid rapture of the images, but “The Elephant Queen” adheres too closely to the parameters of family-friendly nature docs, and the formula doesn’t always serve it well.
    • tbd Metascore
    • 60 Scott Tobias
    The Son
    Schindel is more interested in suspense gamesmanship for its own sake, and all other provocations fade from the canvas.
    • tbd Metascore
    • 50 Scott Tobias
    Girls with Balls
    Lavant’s performance as a wordless, deranged, bloodthirsty cult leader is the one note of genuine eccentricity and menace in a film that’s mostly devoted to slapstick comedy and decapitation.
    • 50 Metascore
    • 50 Scott Tobias
    Bolden
    Pritzker and Rothschild’s script feels like such a composite of jazz biopics that its only in the performance sequences, parceled out stingily amid the misery, in which Bolden really comes alive.
    • 44 Metascore
    • 40 Scott Tobias
    Unicorn Store
    The message here is that there’s no one-size-fits-all formula for adulthood, but the film doesn’t bear it out.
    • 24 Metascore
    • 40 Scott Tobias
    Billboard
    Zelker’s three-ring circus of digital and social-media content needs a compelling main event, and this movie seems unlikely to inspire many to check out the supplementary materials.
    • 40 Metascore
    • 40 Scott Tobias
    IO
    The dynamic between Sam and Micah shifts the film into romantic melodrama, as lifeless and as chaste as the windswept apocalypse that surrounds them.
    • 44 Metascore
    • 40 Scott Tobias
    Where Hands Touch
    Amandla Stenberg carries the magnetism she brought to her breakthrough role in the YA romance “Everything, Everything,” but she’s betrayed by a stilted rendering of a rarely illuminated piece of history.
    • 54 Metascore
    • 40 Scott Tobias
    Hotel Transylvania 3: Summer Vacation
    Tartakovsky’s instincts are to keep the action moving quickly and let one piece of kid-friendly slapstick tumble into the next, but when the jokes are this consistently uninspired, it doesn’t matter how fast they’re dispensed.
    • tbd Metascore
    • 40 Scott Tobias
    Los Angeles Overnight
    Chrisoulakis and screenwriter Guy J. Jackson attempt a violent, moody neo-noir about Tinseltown fringe-dwellers, but their conceit is flimsy and under-realized, grafting a boilerplate heist story onto a bitter commentary about the corrupting forces of the film industry.
    • tbd Metascore
    • 40 Scott Tobias
    Our Blood Is Wine
    Oenophiles may swoon over the delicious native varietals that tease Quinn’s palate, but Railsback’s thin and disorganized documentary doesn’t go down so smoothly.
    • 48 Metascore
    • 58 Scott Tobias
    Tomb Raider
    Vikander doesn’t do much with a character whose chief attribute is earnestness, but Tomb Raider improves once it gets to the island and lets the derring-do take over.
    • 46 Metascore
    • 40 Scott Tobias
    1:54
    1:54 intends to be a straight-shooting social drama about the multifaceted problem of bullying in the digital age, but it’s out of touch with how real teenagers think and act and communicate. It’s a modern film that feels like a relic.
    • 38 Metascore
    • 40 Scott Tobias
    Curvature
    Part metaphysical thriller, part inquiry into scientific ethics and the morality of revenge, the sci-fi indie Curvature wants to get the heart racing and the mind bending simultaneously, but flatlines in both departments.
    • 67 Metascore
    • 50 Scott Tobias
    The Final Year
    The Final Year clings to a precooked thesis about the Obama Doctrine that misses the behind-the-scenes drama and candor of superior political documentaries like “The War Room” or “Weiner.”
    • 46 Metascore
    • 50 Scott Tobias
    The Upside
    So little has been done to update or refresh “The Intouchables” for American culture or a new audience that The Upside has no integrity as a separate piece of work. The casting alone is all that’s keeping it from sinking into a cynical act of franchise burnishing.
    • 59 Metascore
    • 50 Scott Tobias
    A Very Sordid Wedding
    A few of the gags land, most of them don’t, but the overall rhythm is stilted and rudderless, flattened further by d.p. Paul Suderman’s point-and-shoot camerawork.
    • 54 Metascore
    • 50 Scott Tobias
    The Skyjacker's Tale
    A Skyjacker’s Tale is all in the telling, and Jamie Kastner’s haphazard documentary misses the opportunity to get it right, despite having access to Ali and an impressive assembly of major players from his past.
    • 31 Metascore
    • 40 Scott Tobias
    Kill Switch
    Had Smit developed his themes as scrupulously as his visual effects, Kill Switch might have been the next “Primer” or “District 9,” but instead it feels like a demo reel for a game that nobody can play.
    • 37 Metascore
    • 40 Scott Tobias
    Middle Man
    Crowley’s thinly conceived debut feature only has one big joke, and everything around it is either long-winded setup or deflating letdown.
    • 43 Metascore
    • 50 Scott Tobias
    Vincent N Roxxy
    Genre clichés catch up with Schultz just as surely as the past catches up with his characters and the sweet, redemptive possibilities of their relationship gets washed away in the tide of gratuitous bloodshed.
    • 55 Metascore
    • 50 Scott Tobias
    My Name Is Emily
    the film thrums with an urgency that’s both asset and liability, at once invested with deep feeling and undone by a barrage of flashbacks, allusions, and counterintuitive bits of wisdom.
    • 58 Metascore
    • 50 Scott Tobias
    Dean
    Martin stays within his comfort zone as a New York-based illustrator still processing his mother’s death, but the tyro helmer struggles to square his distinct minimalist charm with the second-hand influence of standard-bearers like Woody Allen and Wes Anderson.
    • 72 Metascore
    • 50 Scott Tobias
    Always Shine
    With her confident second feature, director Sophia Takal (“Green”) takes on Tinseltown misogyny and the toxic rivalry between friends, but that’s mere prelude to a gonzo meta-fiction that deconstructs itself nearly to death.
    • 66 Metascore
    • 60 Scott Tobias
    The Apostate
    Gonzalo’s dalliances add up to precious little, but Veiroj’s comic tone finds purchase in his absurd run-ins with the bishop and a church so unwilling to lose a member from the rolls that they’ll stick him in a bureaucratic roundabout until he gives up.
    • 55 Metascore
    • 50 Scott Tobias
    The Mind's Eye
    The film has the visceral kick of brainiacs willing each other into bloody oblivion, but struggles to justify its own stock mayhem, much less plumb Cronenbergian depths.
    • 55 Metascore
    • 50 Scott Tobias
    Embers
    Embers offers a series of compelling premises and never follows through on them, content to drift along on its characters’ dull malaise and allow self-conscious visual poetry to stand in for real emotion.
    • 57 Metascore
    • 50 Scott Tobias
    Lace Crater
    First-time director Harrison Atkins never quite finds his own distinct voice. He dabbles in horror and deadpan comedy, experiments in discordant jags on the soundtrack, and suggests a more fluid boundary between the living and the dead, but the film remains stubbornly hazy and obscure in its intentions.
    • 63 Metascore
    • 50 Scott Tobias
    The Ones Below
    Farr delves into the sticky issue of parental ambivalence, but he only goes deep enough to carve a small pit in the viewer’s stomach.
    • tbd Metascore
    • 50 Scott Tobias
    Divine Access
    None of Jack’s relationships are handled with enough conviction to make them stick, and that carries over to a religious message that’s squishy in the extreme. “Agreeable” is a good quality, but it should never be the best quality a film possesses.
    • 41 Metascore
    • 40 Scott Tobias
    The Perfect Match
    An attractive and appealing cast helps this formulaic pablum go down easy, but the genial tone buffs the edge out of every element.
    • 56 Metascore
    • 50 Scott Tobias
    Race
    Were it not so committed to telling the official story in bullet points, Race might have found a more provocative angle about athletes and artists who work through and around the powers that be.
    • 52 Metascore
    • 50 Scott Tobias
    Snowtime!
    Covering the emotional spectrum between dog farts on one end and tragedy on the other reps a tonal challenge that Showtime! can’t pull off, despite a gentler touch than most kiddie fare of its kind.
    • 79 Metascore
    • 60 Scott Tobias
    Mountains May Depart
    It's a powerful idea in the abstract, the culmination of three acts that cover a 25-year catastrophe with a time-lapse breathlessness. It just never leaves the abstract and becomes flesh.
    • 55 Metascore
    • 50 Scott Tobias
    Concussion
    Concussion isn't much of a movie, but it's a fascinating bellwether for where the National Football League currently stands on chronic traumatic encephalopathy (CTE), the degenerative brain disease associated with many of its former players.
    • 55 Metascore
    • 40 Scott Tobias
    The World of Kanako
    While there’s something compelling about an antihero whose obsession is poised on the razor’s edge between love and hate, The World of Kanako buries it in grinding, agitated repetition.
    • 51 Metascore
    • 50 Scott Tobias
    Criminal Activities
    There’s nothing remotely fresh about this revival, but tight pacing and an overqualified cast keep things zipping along nicely.
    • 55 Metascore
    • 40 Scott Tobias
    The 33
    In broad strokes, the events that unfold are undeniably riveting.... The trouble is, The 33 only knows broad strokes. Lacking any specific angle on the ordeal, the filmmakers give the once-over-lightly treatment to every aspect of it, which ensures that none of them will be properly served.
    • tbd Metascore
    • 50 Scott Tobias
    The Whispering Star
    In trying to make sense of an android’s point-of-view, Sono has sensibly turned repetition and routine into a narrative strategy, but the unrelieved tedium of The Whispering Star takes a toll. If anything, Sono’s past work has suffered from a an overabundance of jokes, digressions, and crazed visual flourishes, but their near-total absence here becomes a problem of another kind.
    • 59 Metascore
    • 50 Scott Tobias
    Into the Forest
    Ellen Page and Evan Rachel Wood are both superb in the lead roles, but Rozema’s emphasis on the primacy of family and nature exposes a deficit of visual and narrative imagination.
    • 38 Metascore
    • 40 Scott Tobias
    The Park Bench
    Hayden and Perez do their best to generate sweetness and spark, but the obstacles separating these characters are as contrived as the cliches that animate them.
    • 47 Metascore
    • 40 Scott Tobias
    Max
    There’s a touching story here about a boy getting over his grief and narcissism by nursing a dog through its own set of traumas, but Max is far too gung-ho about playing up the pup’s heroism and self-sacrifice to give it much time to develop.
    • 46 Metascore
    • 50 Scott Tobias
    The Little Death
    Generally speaking, the more obscure the fetish, the worse the subplot gets, though they all wear out their one-joke welcome before Lawson inevitably turns up the sentiment and makes the film about love and kids and happy unions.
    • 54 Metascore
    • 60 Scott Tobias
    Felt
    The payoff may be predictable, but Banker and Everson are refreshingly unclear about how they—and viewers—feel about it. They just stay true to their protagonist’s feelings, see their premise through to the end, and leave it others to sort out. For a thesis-statement of a movie, that’s the riskiest possible conclusion.
    • 70 Metascore
    • 60 Scott Tobias
    A Murder in the Park
    As a loaded summary of an important, disquieting chapter in Illinois legal history, A Murder In The Park gets the blood boiling, and suggests a justice system open to manipulation by bad actors.
    • 56 Metascore
    • 50 Scott Tobias
    Escobar: Paradise Lost
    Escobar: Paradise Lost takes such a limited view of this multi-faceted figure that it fails as portraiture, and the real center of the film is too much of a bland good guy to compensate.
    • 32 Metascore
    • 40 Scott Tobias
    The Stranger
    Once Amoedo lays all the cards out on the table, The Stranger feels like a piece of genre revisionism only in its deliberate, grinding pace, not in any refreshing turns of the plot.
    • 44 Metascore
    • 40 Scott Tobias
    Police Story: Lockdown
    Lockdown is mostly a humorless bore until the obligatory bloopers and outtakes in the end credits—and even those are drawing from a flat vein, since there’s so little play in the movie.
    • 44 Metascore
    • 40 Scott Tobias
    Barely Lethal
    While Barely Lethal is conscious of the clichés of the genre, it’s also the type of film that won’t let that get in the way of regurgitating them.
    • 71 Metascore
    • 60 Scott Tobias
    Animals
    Searching for originality in an addiction narrative like Animals is a problem, because these stories of decline and degradation tend to sound the same. So the limited time frame is the film’s strongest asset, because it’s only paying attention to the final hours.
    • 46 Metascore
    • 50 Scott Tobias
    Intrepido: A Lonely Hero
    Amelio’s latest, Intrepido: A Lonely Hero, reveals the same strengths and weaknesses as his work two decades ago—an appealing sincerity and social awareness, dogged by a mile-wide sentimental streak. In this case, when Intrepido tilts from whimsical comedy to metaphysical drama, it falls right off the cliff.
    • 39 Metascore
    • 50 Scott Tobias
    Skin Trade
    Everyone’s there to get the job done, Dolph Lundgren style, meaning Skin Trade is a throwback to the one-man-army actioners of the ’80s, sprinkled with updated stats on human trafficking. If the film happens to raise awareness, then that’s more bonus than objective.
    • 52 Metascore
    • 60 Scott Tobias
    Maggie
    Past the novelty of its conceit and casting, and the animating intelligence of its first-time director, Henry Hobson, Maggie is a bit of a drag.
    • 48 Metascore
    • 40 Scott Tobias
    Ride
    The simplicity of the film’s East Coast/West Coast assumptions bear out in the rest of the script, which rides such tidy little symmetries all the way to shore, as mom learns to relax and her son grows up a bit. Meeting somewhere in the middle is what mediocrities do.
    • 55 Metascore
    • 50 Scott Tobias
    Reality
    The accumulation of weird incidents and fake-outs doesn’t lead anywhere productive. That’s the problem with Dupieux’s vacant brand of surrealism: If you just keep pulling out the rug, there will never be anything to stand on.
    • 56 Metascore
    • 60 Scott Tobias
    Hyena
    There’s nothing out of order here—the locales are appropriately dingy and atmospheric, the lead character is compellingly rotten, the plot tightens to a vise squeeze in the third act—but every beat that isn’t provided by The The strikes exactly where it’s expected.
    • 50 Metascore
    • 50 Scott Tobias
    True Story
    Goold, a highly regarded British theater director making his debut feature, lacks the panache to realize this twisted relationship onscreen. Instead he’s made a stolid, well-acted, intelligent drama that respects the complications of Finkel and Longo’s storytelling agendas without bringing them to life.
    • 33 Metascore
    • 40 Scott Tobias
    The Longest Ride
    Sparks has to rely on exterior plot machinations because his characters lack any inner life.
    • 42 Metascore
    • 50 Scott Tobias
    Lost River
    Despite some genuinely arresting imagery—urban decay abstracted as poetic horror—the true narrative of Lost River is its bizarre, haphazard search for its own identity.
    • 67 Metascore
    • 60 Scott Tobias
    Ned Rifle
    Ned Rifle feels closer to vintage Hartley than anything since 2001’s crazily underrated flop No Such Thing knocked him into semi-obscurity, but its dogged insularity stifles the modest pleasure of hearing the director’s distinct voice and watching his old favorites slip back into familiar roles.
    • 52 Metascore
    • 60 Scott Tobias
    5 to 7
    Accepted as fantasy, 5 To 7 has a bright, literate charm that’s hard to resist, thanks to the scattered witticisms in Levin’s script, a deftly managed tone, and fine performances across the cast.
    • 36 Metascore
    • 40 Scott Tobias
    Serena
    Serena is quite bad, as it happens, but until it goes absolutely haywire in the final act, the biggest problem is that it’s all bones and no flesh, so busy combining all the structural elements that go into an award-winner that it has no personality of its own.
    • 59 Metascore
    • 50 Scott Tobias
    Champs
    Champs dances around the ring when it should be punching.
    • 70 Metascore
    • 40 Scott Tobias
    Merchants of Doubt
    Though Kenner’s slick graphics and attractively photographed talking heads call Errol Morris to mind, his methods are significantly less subtle.
    • 53 Metascore
    • 40 Scott Tobias
    Ejecta
    In the end, the film isn’t scary and it isn’t all that brainy, either. It’s just a juicy metaphor in search of worthy action to support it.
    • 77 Metascore
    • 60 Scott Tobias
    The Hunting Ground
    If the purpose of The Hunting Ground is to raise awareness and call viewers to action, then mission accomplished. But the tactics used are often graceless and propagandistic, and take away from the moving testimonials and the on-the-ground organization at the film’s core.
    • 50 Metascore
    • 50 Scott Tobias
    My Life Directed by Nicolas Winding Refn
    “My Life Directed” is mostly disposable, just the sort of home-movie project a restless artist might sketch while stuck in a hotel room for a few months. It’s not a movie so much as a cry for help.
    • 60 Metascore
    • 60 Scott Tobias
    McFarland USA
    With its genuine interest in the immigrant experience and what it means to be an American, McFarland USA ekes out a victory in the margins, proving that a little openness and a little self-awareness can do wonders.
    • 60 Metascore
    • 60 Scott Tobias
    The Last Five Years
    If there’s any thought to the screen musical being revived as more than a Broadway brand extension, Kendrick makes the emphatic case that she’s the star it should be built around.
    • 30 Metascore
    • 50 Scott Tobias
    Seventh Son
    The film is overstuffed, but it’s swift and unpretentious, barreling through a non-stop series of action setpieces without pausing too long to take a breath. The busyness doesn’t eradicate the clichés, much less enrich the film emotionally or thematically, but there’s no time to think about them when Bodrov and his screenwriters, Charles Leavitt and Steven Knight, are moving along to the next sensation. It’s transporting in that sense, and that sense alone.
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