St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,417 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 6.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Jackie
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1417 movie reviews
  1. J. Edgar is the kind of prestige production that apologists will call polished, but even the technical attributes are tinny. In the gay-geezers scenes, Hammer wears terrible old-age makeup, and the entire film is bathed in sepia tones as weak as its convictions.
    • 70 Metascore
    • 50 Critic Score
    An Australian horror yarn that builds occasional tension and brings occasional gasps. The problem is that with the space limitations of a boat and the fact that there are just three characters, it's impossible to have enough tension to make the film work. [07 Apr 1989, p.3G]
    • St. Louis Post-Dispatch
  2. The special effects remain good, but the jokes are creaky, the sentiments are forced and the pop-historical lessons are obligatory.
  3. This movie, which was made by an animation studio in Spain, isn't trying to make a social statement; it speaks in the international language of lightweight comedy.
    • 49 Metascore
    • 50 Critic Score
    Mars Needs Moms is dark for a Disney movie.
  4. The so-so film isn't nearly as good as any of the movies that may have inspired it, or even its own knockout trailer.
  5. A medical drama that pays lip service to the healing power of music but never finds the rhythm.
  6. The Big Year puts the focus on people who aren't inherently interesting - or funny.
  7. Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.
  8. Starved of sufficient comedy or drama, The Age of Adaline is a pipsqueak.
  9. Minions is product, pure and simple. Little kids will love it, but grown-ups will feel like they’re being held hostage in a Fisher-Price test laboratory.
  10. The most grievous sins here are sins of omission.
  11. This halftime walk is more like a long slog.
  12. Hot Tub Time Machine isn't a good movie, but like a bubbling bath it keeps pounding at us until our resistance wears down.
  13. Lovely to look at, and Vikander does nothing to derail her inevitable ascension to the A-list. But as a story, it evokes a word that no battlefield nurse would ever apply to her experiences: sterile.
  14. Only when there’s an opportunity to blow things up does Fuqua seem fully engaged. Another Western bites the dust.
  15. The setting and offbeat tone may remind some viewers of another recent comedy, but whereas “The Descendants” was a substantive meal, Aloha is a pu pu platter.
  16. Has a welcome message of personal growth and racial tolerance. And it's ably made, with evocative Memphis locations. But in the final sermon, it proffers some plot twists that are supposed to be miraculous but may strike a doubting Thomas as lame.
  17. 9
    Although it has a great look and offers a few thrills, the animated film 9 is one of this year's biggest disappointments.
  18. In getting so many of the Midwestern details wrong, worldly director Bahrani (“Chop Shop”) teaches an inadvertent lesson to aspiring filmmakers who want to follow his footsteps to the festival circuit: Grow where you’re planted.
  19. To stand out in a crowded marketplace, a sequel can’t just kick ass — it has to blow minds.
  20. Instead of entertaining us, director Robert Redford offers us a handsome history lesson that's as dry as a hardtack biscuit.
  21. The few Jewish characters are cartoonishly evil, but even the Palestinians are sketchily dramatized or, in the case of a terrorist, clumsily legitimized.
  22. Except for the dynamite finale, The Long Ranger feels like a long, slow ride to the dump, to the dump, to the dump, dump, dump.
  23. Although The November Man shows us some attractive people in motion, the cumulative effect leaves us neither shaken nor stirred.
  24. The diabolical sadist of the team was director Joe Carnahan.
  25. It's a worthy cause and an honorable film, the first full-length Disney cartoon with an African-American heroine. But without a strong story, it's a case of one step forward and two steps back.
  26. It’s unashamedly of the B-movie variety — a quick and easy time-killer.
  27. Even by the standards of light entertainment, This Means War is meaningless.
  28. Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.

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