Scott Tobias

Scott Tobias is the film editor of The A.V. Club, the arts and entertainment section of The Onion, where he's worked as a staff writer for over a decade. His reviews have also appeared in Time Out New York, City Pages, The Village Voice, The Nashville Scene, and The Hollywood Reporter. Along with other members of the A.V. Club staff, he co-authored the 2002 interview anthology The Tenacity Of the Cockroach and the new book Inventory, a collection of pop-culture lists.

Though Tobias received a formal education at the University Of Georgia and the University Of Miami, his film education was mostly extracurricular. As a child, he would draw pictures on strips of construction paper and run them through the slats on the saloon doors separating the dining room from the kitchen. As an undergraduate, he would rearrange his class schedule in order to spend long afternoons watching classic films on the 7th floor of the UGA library. He cut his teeth writing review for student newspapers (first review: a pan of the Burt Reynolds comedy Cop and a Half) and started freelancing for the A.V. Club in early 1999.

Tobias currently resides in Chicago, where he shares a too-small apartment with his wife, his daughter, two warring cats and the pug who agitates them.

"Sometimes, friends begin as enemies. And sometimes, enemies begin as friends. Sometimes, in order to truly know how things end, we must first know how they begin."

In their absence, the twin towers have occupied such a significant place in the American conscience, it can be easy to forget they were once considered a blight on the landscape. "Like two file cabinets," snorts one New Yorker in The Walk, Robert Zemeckis' exhilarating film about Philippe Petit, the French wire-walker who tightroped across the towers as they were nearing completion in 1974.

When horror auteur Eli Roth broke into the mainstream with Hostel in 2005, he tapped into a primal fear among Americans, post-9/11, that foreign countries were inhospitable to yankees abroad. (The clever, double-meaning title could be read as "hostile.") He also helped open the floodgates for the hard-R subgenre known as "extreme horror" in some circles and "torture porn" in others, depending on where certain critics drew the line—and whether they were willing to have a line at all.

Without a second's hesitation, Alex Ross Perry's Queen of Earth dives right into its heroine's lowest moment, in medias res. The camera stays close to Catherine's face, as smears of mascara frame eyes alight with pain, anger and exhaustion; this has been going on a while and we're just seeing the end of it. Her boyfriend is breaking up with her, which is awful enough, but the timing makes it worse: She's still reeling from the death of her father, an artist who mentored her, and now the two central figures in her life are gone.

Within the mishmash of influences on the stoner action/comedy American Ultra — namely, Repo Man, Mr. and Mrs. Smith, Pineapple Express, and a pile of pointless hyper-violent comic books — the film nearly finds itself in the cognitive dissonance of a pothead who discovers his inner badass. There's something funny about Jesse Eisenberg, that sentient bundle of nerves, standing over the bodies of government agents he's just dispatched with a spoon and a piping hot bowl of ramen noodles.

For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Rendazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom.

Those keeping up with the National Cinematic Lampooniverse (NCL) will be interested to know that Vacation isn't a remake of the three-plus-decade-old Chevy Chase comedy, but a continuation of the series. It takes place in a world where the events of Vacation, European Vacation and Christmas Vacation have happened and everyone has gotten older, if not wiser. Now Rusty Griswold, the grown son of Chase's Clark Griswold, wants to follow in his father's footsteps and drag his own family on a cross-country misadventure.

Scrub away the gore and the nastier bits of provocation, and Ben Wheatley's Sightseers belongs squarely in the tradition of British classics like Kind Hearts and Coronets and The Ruling Class — satires that transformed simmering class resentment into brittle, nasty dark comedy.

The score for Oblivion was composed by M83, a superb French electronic outfit that derives its name from one of the spectral pinwheels known as spiral galaxies. I point this out because it's the best element of the movie — a cascade of dreamy synthesizers that registers as appropriately futuristic (at least the future as suggested by '80s pop) while allowing an undercurrent of romantic yearning.