St. Louis Post-Dispatch's Scores

  • Movies
For 1,007 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Samsara
Lowest review score: 25 New Year's Eve
Score distribution:
1,007 movie reviews
  1. The ingredients are in place for a potent finale, but “Catching Fire” is watered down.
  2. For all its professionalism, I found it as cold as the ice rink at Rockefeller Center.
  3. Strange hybrid of science lesson and Saturday-morning cartoon.
  4. A good and necessary film, but like the man himself it’s not immune to scrutiny.
  5. It’s admirable, but Monuments Men just poses on a porous foundation like a statue.
  6. Non-Stop: It is what it is.
  7. Typically lovely to look at, with big-eyed young people espousing high ideals amid natural splendor. But outside of their bubble, a prickly history looms, and Miyazaki’s dubious attitude toward the wartime role of his hero makes the movie a mixed blessing.
  8. What the movie crucially lacks is the clockwork complications that produce a payoff.
  9. With his glorified Frisbee and good-guy smile, Evans is engaging, but “The Winter Soldier” might be stronger with a little less Captain and a little more America.
  10. Presented as a stand-alone film, but without an explanation for the protagonist’s physical and emotional injuries, it’s a head-scratcher. As with Joe’s sexual compulsion, scratching can’t cure the itch.
  11. Joe
    While Green is force-feeding us this hard-boiled hokum, he doesn’t distract us with many memorable images, as he did in his earliest films.
  12. The plot is murky, the acting is melodramatic and the movie is way too long, but the target audience will salivate over the inventively choreographed set-pieces.
  13. Easy to watch but hard to pin down, like a creature with eight legs going in different directions.
  14. Fading Gigolo is like two different movies on an awkward blind date at a jazz club. While Allen charms us with a parody of “Broadway Danny Rose,” Turturro is off-key in his lounge-lizard riff on “The Piano.”
  15. The movie looks like it was made for broadcast television, the place where words and pictures go to die.
  16. Every character from the original is here, navigating the dating jungle, but this time there’s no pushing of Steve Harvey’s book.
  17. For real balance, the debate needs fiercely leftist truth-tellers in tri-corner hats, calling themselves the Organic Chai Tea Party.
  18. Chartered to provide both sides of every debate, CNN has positioned itself as the middle ground for discussions of current events. But without a knowledgeable teacher (or filmmaker) to lead such discussions into new territory, they devolve into noisy bull sessions.
  19. Like the first movie The Purge: Anarchy, is trash masking as social commentary, and its depiction of unrelenting, sanctioned violence can be hard to stomach.
  20. Without the kindling of character development, Planes: Fire and Rescue is no smoldering success, but if Disney’s flight plan is to share Pixar’s airspace, it’s getting warmer.
  21. Although Besson, the director of “La Femme Nikita” and the producer of “Taken,” indulges in some operatic violence, the film is more spacey than pacey.
  22. Although the outcome is as predetermined as a prix-fixe menu, the storytelling is as smooth as goose-liver pate through a pastry nozzle.
  23. Not all of it makes sense, but for disaster movie fans, Into the Storm has enough destruction to go around.
  24. Alba is a showstopper in a fringed cowgirl outfit. But nine years wiser, we know that pretty things aren’t always worth killing for.
  25. A family flick that punches the right buttons like a trained seal.
  26. The Equalizer, loosely based on the TV series of the late ’80s, is a guilty-pleasure platform for Washington’s slow-cooked, kick-butt heroism.
  27. A flawed but intriguing new chapter in animation.
  28. Although the characters don’t lapse into stereotypes, neither are they sufficiently funny or fierce to engage us in the issues they raise.
  29. Mired in phoniness up to its neck. And above that, there's nothing.
  30. 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.

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