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.

Afghanistan has been dubbed the "graveyard of empires" for punishing the hubris of powerful invaders, but eight years after the 9/11 attacks lured American forces to Afghanistan, it had become more like a purgatory. With anything like a clear-cut victory long off the table and the "coalition of the willing" whittled down to half-hearted, qualified commitments from U.S. partners abroad, the mission had lapsed into dangerous inertia. The new President, Barack Obama, was looking to draw down troops in Iraq and Afghanistan, but ending the war completely was never a viable option.

Based on Nicola Yoon's YA novel, Everything, Everything is about an 18-year-old girl who suffers from severe combined immunodeficiency (SCID), a condition that's kept her inside the same house her entire life, due to potentially fatal vulnerabilities to allergens, viruses, and other infections. SCID is a real disease — David Vetter, the famous "bubble boy," died due to complications after a bone marrow transplant in 1984 — but for Yoon's purposes, and the film's, it's mostly a romantic obstacle, a thin but impenetrable barrier between the girl and whatever her heart desires.

Set in the middle of the Iraqi desert in 2007, after the "Mission Accomplished" banner was hung and the war was "officially" over, Doug Liman's The Wall belongs to a small subset of real-time thrillers, like Phone Booth and Buried, where the hero is pinned down in a single location for the entire film. And unlike the others, which violate the conceit with flashbacks and other scenes away from the action, The Wall offers no relief from a desperate and seemingly impossible situation.

The screen version of Edward Albee's play Who's Afraid of Virginia Woolf? is a acknowledged classic, a subtly stylized and beautifully acted drama about two couples going through a booze-soaked dark-night-of-the-soul. Would it be improved by flashbacks to the couples' stormy past? Would it be improved by flashbacks to some needlessly obfuscated criminal incident? Would it be improved by allusions to Gettysburg? Of course not.

What it is like to be married in Hollywood? We have a good idea about what it's like to be divorced in Hollywood, we've seen famous couples run aground by egos and scandal, and we're well-versed in the ups-and-downs of a lifestyle where fortunes vary and relationship are jostled like luggage on a turbulent flight.

There are no sure things in the volatile world of indie film distribution, but food documentaries have become reliable winners — the amuse-bouche of dinner-and-a-movie date nights, the pornography of Netflix. Half of them warn of all the terrible things in food—genetically modified organisms! high-fructose corn syrup!

Tucked deep into the Bolivian jungle — through swarms of disease-carrying mosquitoes, a river flush with voracious piranha, and hidden gauntlets of hostile natives — the elusive civilization in The Lost City of Z sounds like El Dorado or The Fountain of Youth, one of those mythical paradises that conquistadors slaughtered many to seek.

Among its many virtues, the bittersweet 1979 caper comedy Going in Style has a distinct tone, located at the obscure intersection of irreverence and melancholy. As three retirees from Queens who rob a bank in Groucho Marx masks, George Burns, Art Carney, and Lee Strasberg are both figures of fun and men who can't bear the thought of drearily cashing Social Security checks and feeding the pigeons until the sun finally sinks under the horizon.

Knives are the weapon of choice in the dread-soaked horror film The Blackcoat's Daughter, and for debut director Osgood Perkins, that's a prime example of steering into the skid. Perkins' father is the late Anthony Perkins, who wielded the most famous knife in film history as Norman Bates in Psycho, and he seems determined to carry that same horror classicism into the 21st century.

To fully understand the dollar-store appeal of Power Rangers, the first big-screen iteration of the media and action-figure line in two decades, one must sit through at least one or two of the five Michael Bay-directed Transformers movies, which is by no means an advisable experience. The two franchises are more or less the same — a busy assemblage of thinly wrought characters, unforgivably dense mythology, and barely comprehensible action sequences, all in service of gleaming battlebots for kids to smash together in the sandbox.

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