St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,386 reviews, this publication has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 6.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Two Days, One Night
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1386 movie reviews
  1. It’s a perfect vehicle for Driver, who endearingly captures the hangdog humility of his character. It’s a portrayal that might encourage more people to write poetry. And as the quirky but cheerful Laura, Farahani is just right.
  2. Her
    Her may be the most technologically astute movie since Stanley Kubrick’s “2001: a Space Odyssey.” And as the friendly ghost in the machine, Samantha is a more inviting companion for the great leap forward than HAL9000 could ever dream of being.
  3. Winter's Bone is the best film of the year.
  4. A stark, contemplative and hauntingly brilliant film.
    • 73 Metascore
    • 100 Critic Score
    This is a strange, sweet movie, one that takes awhile to unfold but eventually becomes irresistible. [4 Mar 1994, p.3F]
    • St. Louis Post-Dispatch
  5. A comedy of discomfort -- and one of their (Coen brothers) best, most insightful and most provocative films.
  6. At its heart, Carol deals with the rules that society imposes on individuals, and the courage necessary to throw those rules out the window.
  7. Cotillard gets so persuasively inside Sandra’s skin that it’s not at all surprising that this performance has earned her another Oscar nomination. And she does so without resorting to shameless, award-baiting grandstanding.
  8. Portman is simply brilliant, getting to the essence of Jackie without resorting to a mere impersonation.
  9. Seldom has a film so eloquently captured the craziness, brutality and arbitrariness of war. Dunkirk just might be Nolan’s masterpiece.
  10. Doctor Strange doesn’t always make sense — but so what? It’s a mind-blowing special-effects extravaganza, and the most exciting comic-book flick since “Deadpool.”
  11. Fruitvale Station has all the impact of a thoroughly researched, well-argued documentary. But Coogler made the right choice in going with drama.
  12. With such supercharged material under the hood, a magnetic man behind the wheel and a nimble director manning the pits, Senna is simply the greatest sports film I have ever seen.
  13. Boldly original, The Revenant puts everything else playing at the multiplexes in the shade.
  14. Ultimately hopeful, but uncompromising in its commitment to exposing a tragic chapter in history.
  15. When films are good, actors and directors get a lot of the credit that should go to the screenwriters. In the case of Silver Linings Playbook, which is one of the best films of the year, there is a popcorn bowl of glory to go around.
  16. The best film of the year and perhaps the purest love story in cinematic history.
  17. Gosling is terrific as the coolly introspective yet disarmingly charming Sebastian. And Stone is deservedly generating Oscar buzz for her portrayal of an artist who can’t quite believe she’ll ever be anything other than a barista.
  18. A film that's at once timely and timeless.
  19. Lots of films claim to be different. Birdman is.
  20. At once an unforgettable war film and a brilliant character study.
  21. Far from being preachy, Loving is a beautiful film about daring to love, without fear or compromise.
  22. In a stunning performance, Teller resists the impulse to sugarcoat Andrew’s egocentricity. Simmons is equally impressive, lending Fletcher just enough humanity to render his monstrousness all the more shocking.
  23. Up in the Air may not end up as the best picture -- that will be decided by the Academy -- but it has landed in the middle of the discussion because it's laser-focused and right on time.
  24. Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.
    • 67 Metascore
    • 100 Critic Score
    Die Hard 2, which is far and away the best of the big summer action pictures, is an almost perfect blend of suspense, thrills, human drama and, perhaps most important, comedy. [6 July 1990, p.3F]
    • St. Louis Post-Dispatch
  25. Oyelowo takes full advantage of his close physical resemblance to King, but he wisely avoids mere impersonation, delivering a performance that’s as sensitive as it is spellbinding.
  26. Don’t be put off by the need to read subtitles. Rarely has a film more eloquently captured the universality of human experience.
  27. An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.
  28. Often, extending a film franchise signifies a lack of imagination. But Creed is a knockout.
  29. The film would be incalculably different if the lead role had been divided between two or three young actors for a conventional shoot. But Linklater’s patience allows us to see a thoughtful personality being formed both on and off the screen.
  30. Involves the gradual revelation of the hopes, fears and insecurities of well-observed characters.
  31. Working from a script co-written with Christopher Browne, director Robert Zemeckis (“Forrest Gump”) pulls off a fabulous trick of his own: delivering a mainstream entertainment that has, at its heart, a poetic sensibility.
  32. One of the best films of the year.
  33. Nev and the filmmakers prove to be charismatic, and at times hilarious, investigators of the unfolding mystery.
  34. The combination of a literate script, an adroit cast and an economical style is simple addition that achieves an alchemical feat: the best film of the year.
  35. Bursting with smart dialogue, surprising situations and humor that springs from richly imagined characters.
  36. The conclusion of Christopher Nolan's superhero trilogy is a hugely ambitious mix of eye candy and brain food. If it doesn't have the haunting aftertaste of the previous serving, that's only because Nolan couldn't clone Heath Ledger. But beefy substitute Tom Hardy is a hell of a villain.
  37. Surrender, earthlings. It’s the Guardians’ world and you’ll be happy to live in it.
  38. With Manchester by the Sea writer-director Kenneth Lonergan (“You Can Count on Me”) confirms his status as a major American filmmaker.
  39. Sophisticated comedies have gone out of fashion, largely because Hollywood finds it easier and more profitable to simply gross out moviegoers. But Please Give has real class -- and for that it deserves our gratitude.
  40. It starts as a bittersweet parable about the cruelty of commerce, but the wonder of Searching for Sugar Man will not soon slip away.
  41. Baby Driver zooms onto the screen with an exhilarating combination of smarts and style.
  42. As much as anything, the wildly entertaining ’70s flashback American Hustle is a triumph of style.
    • 81 Metascore
    • 100 Critic Score
    This is Daisy's story, and Hoke's story. It's a beautiful story, filled with warmth and compassion. It was a glorious evening of theater when I saw it, and it's just as glorious on the screen. [12 Jan. 1990, p.3F]
    • St. Louis Post-Dispatch
  43. What Inside Llewyn Davis is all about: the passion, and the pain, of being an artist.
  44. An exciting cloak-and-dagger thriller.
  45. The movie Timbuktu is as fresh as today’s headlines, but it’s paced and photographed like a timeless slice of life. It’s an exquisite, wise and even funny film, easily the best of the year.
  46. Perilous incidents have riveted audiences since Pauline was tied to the railroad tracks, but in the hundred-year history of cinema, few thrillers have been as emotionally compelling as The Impossible.
  47. A cinematic miracle, a film that carves out a vivid space that has nothing to do with wizards or extraterrestrials, but quite a lot to say about the fantastical creatures that roam through the humanity in us all.
  48. A far more interesting film than its title implies. And a film you’ve never seen before.
  49. After feeding on this sweet buffet, sated cinephiles will want to call the front desk to extend their stay.
  50. With visual and psychological precision, Abrahamson brilliantly evokes the experience of living outside of everyday reality. And he does so without resorting to either creepiness or sentimentality.
  51. Into the Abyss makes a strong case for the inhumanity of capital punishment, regardless of the crime or the criminal.
  52. The film offers insights into Iranian society while also subtly making a case that human foibles are universal.
  53. The year’s most exhilarating film.
  54. The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."
  55. The Master is not a schematic attack on a particular religion. It is a brilliantly conceived and powerfully realized work of art, with complex characters, exquisite images and ambiguously big ideas.
  56. The Tree of Life is a religious experience. Overtly. Audaciously. Unashamedly. No film has ever reached as high toward the face of God and, in our commodified future, few are likely to try.
  57. Beauty comes to us unexpectedly. That's the message of Poetry, a Korean movie about an aging housemaid that turns out to be one of the best films of the year.
  58. One of the best films of the year.
    • 43 Metascore
    • 100 Critic Score
    Anyone who has ever loved or said goodbye to a pet will be able to relate to this heartfelt story, adapted by Cathryn Michon from a best-selling novel by W. Bruce Cameron. Director Lasse Hallström uses real animals and limited CGI, so the actors’ interactions with the pets are believable.
  59. Not just a reboot - it's a rejuvenation. From the first image of sensory awakening to the final acceptance of adult responsibility, it pulses with the warm blood of a very human hero.
  60. The film is a raw, unsparing look at the downside of humanity.
  61. With a title taken from an American Indian word for "life out of balance," Godfrey Reggio's wordless documentary lured dreamers into the sacred cave of cinema, where they ingested the serial music of Philip Glass and the time-lapse imagery of cinematographer Ron Fricke.
  62. Brilliantly blending archival material, including clips of Baldwin on television and in public appearances, with narration by Samuel L. Jackson, Peck makes intriguing connections between the 20th century civil rights movement and the contemporary activism of Black Lives Matter.
  63. The story is so masterfully told that one can't help but be enthralled.
  64. Director Denis Villeneuve (“Arrival”) delivers a moody, visually stunning celebration of existential angst. Not that he skimps on the kind of mayhem that’s de rigueur these days, but you have to wait for it — and wait for it. But when it does arrive, it’s awesome.
    • 70 Metascore
    • 100 Critic Score
    A brilliant, ironic, black-humored story that shows what happens when the American Dream becomes the American Nightmare. [12 Jan 1990, p.3F]
    • St. Louis Post-Dispatch
  65. The success of the three, separately screened films -- the first set in 1974, the second in 1980 and the concluding segment in 1983 -- depends not on their specifics, but on their ability to sustain an atmosphere that's appropriate to the dark but haunting story.
  66. Perhaps the greatest triumph of Star Wars: The Force Awakens is that it justifies the enormous hype. Working from a screenplay that he co-wrote with Michael Arndt and Lawrence Kasdan, director J.J. Abrams (“Star Trek”) brings fresh energy to the franchise while adhering to the storytelling values that made it matter in the first place.
    • 97 Metascore
    • 100 Critic Score
    As good as the story is, and as brilliant as director Jim Sheridan is in his first feature, it is Daniel Day-Lewis who is transcendent as Brown. [2 Feb 1990, p.3F]
    • St. Louis Post-Dispatch
  67. The Big Short is the film that “The Wolf of Wall Street” wanted to be.
  68. Unlike too many films these days, Zero Dark Thirty dares to embrace complexity. And that makes it not just state-of-the-art entertainment, but a great film.
  69. The message of the movie is as clear as Siberian ice: Whether you’re a Tea Partier, an Occupier or just an ordinary Joe, you might be the next citizen who’s stranded in limbo.
  70. The Kids Are All Right probably could have used a few more scenes to come to an even more satisfying conclusion. But it's a terrific film anyway.
  71. Essential viewing for art-film buffs and crime-flick fans, but also for anyone who's looking for a great story, terrific acting and masterful filmmaking.
  72. If you think they don’t make movies like they used to, Brooklyn is glorious proof to the contrary.
  73. A lovably quirky comedy-drama with a rhythm all its own.
  74. With a fearless director and his mighty pen freeing a talented cast to attack a vital theme, Django Unchained is damnation unleashed.
  75. That action is bloody, but Fiennes' choices as director are unassailably apt and artful. Coriolanus is a triumph.
  76. A must-see — and one of the best films of the year.
  77. This is the kind of film that benefits from being experienced with as little prior knowledge as possible. As one watches it, certain questions may arise. But don’t worry — the answers are fascinating.
  78. Cruise is as watchable as ever, bringing to Hunt a blend of steeliness and vulnerability.
    • 83 Metascore
    • 88 Critic Score
    All of the performances are skilled, and yet it's Weaver (a veteran screen, television and stage actress in Australia) who, in a smaller role, creates the character who stays with you.
  79. If you long for a film in the tradition of such grown-up entertainments as “Lawrence of Arabia” and “The English Patient,” this is one to get lost in.
  80. Traditional in the best sense.
  81. Maudie is a work of art.
  82. Although the brazen lovers, bellicose ministers and backstabbing handmaidens are familiar elements, the film is so handsomely mounted that we happily endure the ride until the turning of the screws in the tragic last act.
  83. Long before the blood starts spilling, it’s clear the new team has mostly nailed it. The reboot is as good a Carrie remake as possible, though it’s not truly a scary movie; the film takes its time living up to its R rating.
  84. For those who appreciate fiery dialogue delivered by fine actors, August: Osage County is heaven-sent.
  85. Garcia’s performance, which won the best actress award at last year’s Berlin International Film Festival, is a marvel of self-effacing artistry.
  86. Psychological thrillers just don’t get any better than this.
  87. Superior filmmaking. Yes, it runs almost three hours - but you've probably seen 90-minute films that felt a lot longer.
  88. Ajami is neither a puzzle nor a polemic. It's an admirably even-handed portrait of life in an occupied ghetto that is bounded by checkpoints. Everyone we meet is a more or less honorably motivated victim of circumstance. That the circumstances were inscribed centuries ago makes Ajami a tragedy of biblical proportions.
  89. This is a film that's not always easy to watch, but just about impossible to forget.
  90. Builds beautifully from a farcical premise that requires a suspension of disbelief to a musical climax that washes away our cynicism in a wave of honest tears.
  91. Aside from art-house fare, American movies of recent decades have tended to ignore even the most urgent social problems. Despite its lapses into melodrama, 99 Homes is a thought-provoking exception.
  92. Director David O. Russell ("Three Kings") delivers a film of staggering impact.
    • 71 Metascore
    • 88 Critic Score
    The film catches the Mozarts' true personalities in a way that Peter Shaffer's "Amadeus" never approaches. In one scene, the siblings playfully improvise musical variations, and then joyfully rush to the clavier to write them down: There is the essence of Mozart.

Top Trailers