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.

Published mainly in the pulp magazine Weird Tales — also the preferred outlet for his most famous creation, Conan the Barbarian — the serial adventures of Robert E. Howard's Solomon Kane character provided an early model for the "sword and sorcery" subgenre, that crude yet irresistible fusion of the superpowerful and the supernatural.

There are essentially two things that can happen with a knuckleball. It can float toward the plate without spin, jerk around like boozy relatives at a wedding hall and make the world's best hitters look like hapless Looney Tunes characters. Or it can float toward the plate with spin, lope with a steady trajectory at 65 mph and give the world's best hitters the juiciest slab of red meat this side of Sizzler.

Back in 2005, for the Showtime anthology series Masters of Horror, director Joe Dante and writer Sam Hamm were given carte blanche to make whatever they wanted, so long as it came in under an hour and could be classified as "horror."

They delivered, in Homecoming, one of the sharpest and angriest films about the Iraq war to date — a blunt allegory about U.S. soldiers who rise from the dead not to feast on the living but to vote the president out of office. It's an anti-war satire that only technically functioned as a zombie movie.

A matinee idol for the age of HDTVs and "retina displays," Robert Pattinson has a face that seems to require a higher resolution — glossy and ghostly pale, all sleek lines and alabaster skin. As Edward Cullen, the emo vampire in the Twilight saga, Pattinson plays a creature so immaculately inhuman that he literally sparkles in the sunlight. Edward may be over a century old, but Pattinson has become a thoroughly modern, even futuristic teen heartthrob, looking at all times as airbrushed as his many Entertainment Weekly covers.

There's a devil-may-care recklessness to Will Ferrell that sets him apart from other screen comics — a willingness to commit to the moment without fear of embarrassment, even if the comedy goes right off the rails.

The savings are never passed on to the consumer, but a little product placement has become standard practice for Hollywood movies — a pizza box here or a conspicuously angled soda can there, and few take notice. But product integration is another matter: If a movie has been explicitly designed to accommodate a sponsor, it's worse than just a commercial movie. It's a movie commercial.

When director Lauren Greenfield started filming The Queen of Versailles, a documentary about 74-year-old David Siegel, a billionaire timeshare magnate from Orlando, and Jackie, a trophy wife 30 years his junior, they had outgrown their 26,000-square-foot home.

The Mira Sorvino who won an Oscar for her full-bodied twist on the hooker-with-a-heart-of-gold type in Woody Allen's Mighty Aphrodite resurfaces in Union Square, a micro-budget indie that calls for a similar brand of New York brassiness.

On June 13, 1994, 13-year-old Nicholas Barclay went missing from his home outside San Antonio, Texas.

Nearly four years later, his family received a phone call from Linares, Spain, informing them that their son had been found, scared and confused; the U.S. Embassy made arrangements for the Barclays to reunite with him and bring him back home.

And that's exactly what happened: Nicholas' sister hopped on a plane, drove to the orphanage and embraced a reticent teenager who'd been changed profoundly by age and some unknown, unspeakable trauma.

Not since Walt Disney's heyday has an animation company enjoyed a creative — and technically innovative — run like Pixar, now on a two-decade stretch that started with Toy Story in 1995 and continued with modern classics like Finding Nemo, Monsters Inc., The Incredibles, WALL-E, Ratatouille and two Toy Story sequels that took on improbable depth and complexity. Over the years, the only persistent knock against Pixar is its lack of one thing Disney movies had in spades: female heroines.