Scott Tobias on Muck Rack

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Chicago, IL
Freelance Journalist
As seen in:  NPR

Editor, The Dissolve | I'm an expert in all things that nature abhors.

Maggie / The Dissolve — About 15 minutes into , Arnold Schwarzenegger walks into a gas station market left untended by a zombie apocalypse that's ravaged the country. A zombie catches him by surprise; he gets the upper hand and kills the zombie. "Hell yeah!," says Johnny Pay-Per-View. "Now that's what I'm talkin' about!"

The Gambler / The Dissolve — Part of being a smart gambler-or even some layperson on a day trip to the casino-is bankroll management, wagering enough that the prospect of losing feels a little uncomfortable, but not so much that every penny is put at risk.

The Seven Five / The Dissolve — Cue up The Rolling Stones' "Gimme Shelter," because The Seven Five, an absolutely riveting documentary about police corruption in 1980s New York, is a Martin Scorsese picture waiting to happen. The milieu is scuzzy and richly evoked, the outlaw characters are crisply defined, the stories are hair-raising, and the police culture the film exposes has the dangerous insularity and moral corrosiveness of a mob family.

The Train / The Dissolve — On the commentary track for his rip-roaring 1964 WWII movie , director John Frankenheimer calls it the last studio action picture ever shot in black and white. And that's the primary takeaway from watching it in 2015: That if filmmakers are ever inclined to shoot in black and white for that throwback effect, action pictures are the way to go-not just neo-noirs or silent-comedy homages or historical dramas.

Reality / The Dissolve — Poised somewhere between F For Fake, a Charlie Kaufman movie, and Abbott & Costello's "Who's On First?" routine, Quentin Dupieux's Reality devotes itself to offering multiple planes of cinematic "reality," all of which are revealed to be false.

My Favorite Movie Year: 1955 — The word "arbitrary" doesn't begin to describe the task of picking a favorite movie year, because every era-and so many of the years within them-has its own special quality, from the thrilling developments of cinema in its infancy to the verbal dexterity of '30s screwball comedies to the dark pessimism of post-war noir to the bold reinvention of the French New Wave and the '70s Hollywood renaissance.

Hulk / The Dissolve — Scott: Oliver, we're looking at Ang Lee's Hulk from a 13-year distance, and watching it again for Movie Of The Week, the film seems like a fascinating relic from a Hollywood even further in the past. For better and worse, across seemingly all aspects of production, the ethos for comic-book movies-particularly Marvel movies-post-is: Don't be like Hulk.

Wild At Heart / The Dissolve — It's tempting to treat David Lynch's Wild At Heart as adding to the long tradition of unruly road pictures about the American landscape, but it's too abstracted from the real place to belong to any tradition but Lynch's filmography.

The Water Diviner — With The Water Diviner, his tacky directorial debut, Russell Crowe has made the consummate actor-turned-director vanity project, casting himself as a rugged, courageous, roguishly handsome hero against a sprawling wartime backdrop-and maybe bedding an exotic beauty for his troubles.

Kurt Cobain: Montage Of Heck — The life of Kurt Cobain was not insufficiently documented. After the album Nevermind was released and made Cobain and his band, Nirvana, rock stars of almost instant generational significance, there followed the deluge of magazine and MTV profiles that could be expected of any cultural phenomenon.
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May 06, 2015

@intothecrevasse Easy to remember: Fruity Pebbles is the one with tiny stones in it.

May 06, 2015

@intothecrevasse You'll have to rigorously fact-check any Fruity Pebbles references.

May 06, 2015

RT @alistasi: Am I the only one who thinks of @wescraven's DEADLY BLESSING when I see the massage emoji? #horroremoji

May 06, 2015

@amandahess (Wrong handle for the estimable Ms. Bennett. It's @lbennett. Also: very entertaining piece.)

May 06, 2015


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