KWIT

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.

The premiere of John Cage's famous/notorious composition "4'33"" in Woodstock, New York in 1952 stirred some measure of the outrage that greeted Stravinsky's "The Rite of Spring," only here the audience was upset by the notes they didn't hear, instead of the ones they did. The first of three movements started with the pianist opening the keyboard lid and ended with him closing it; that same pattern was repeated for the next two.

Kate McKinnon plays an Australian in Rough Night, a shrewd gender-reversal of sloppy-drunk bro comedies like Bachelor Party, Very Bad Things, and The Hangover. There's no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it's funny. McKinnon merrily swishes her dialogue around the accent and makes her character's jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train.

Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like Super Friends and Justice League, have made it easy to forget that Wonder Woman is not one of us.

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.

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