St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,306 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% 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: 69
Highest review score: 100 Timbuktu
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1306 movie reviews
  1. The surprisingly rich documentary Best Worst Movie views the phenomenon from a unique perspective.
  2. Too short and undisciplined to be a world-class comedy, but its chutzpah deserves respect.
  3. Timed for the Halloween season, Ouija: Origin of Evil should have horror fans clutching their seats.
  4. It may not be original, but Adam could leave a lump in your throat.
  5. As a documentary, “Eat That Question” is kind of raggedy. But a more polished film might not have been in keeping with Zappa’s anarchic spirit.
  6. As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.
  7. Directed by and starring Mathieu Amalric, it’s a deceptively low-key riff on a Hitchcock whodunit. It’s both sexy and inscrutable, a cold-blooded puzzler to the very end.
    • 68 Metascore
    • 75 Critic Score
    Its main pluses are that it's imaginative and, at times, very funny. Its main drawbacks are too many humans and an overall tone that is much too dark and edgy for very young audiences. [27 Nov 1998, p.B3]
    • St. Louis Post-Dispatch
  8. The kind of working-class, character-driven drama that few American directors would dare to make. It's tough and unsentimental, with a documentary aesthetic that belies the craft of the calibrated tension.
  9. Pine brings a measured but engaging heroism to Kirk. Quinto is perfect as the logical but charismatic Spock. Urban lends the proceedings a much appreciated dose of humor. And even with his famously expressive face obscured by makeup, Elba elevates Krall to something more than a cardboard villain.
  10. What makes Love Is Strange so special is that the challenges the couple face are more mundane than menacing.
  11. Most biographical docs contain a montage of old footage, but this one is especially haunting. As Campbell watches home movies, he has to ask Kim to identify the people on screen, including his ex-wives, his children and his younger self.
  12. The beauty of October Country, beside its artful images, is how it compresses the windblown fortunes of working-class America into the fallen leaves of one forlorn family.
  13. Europeans have a taste for both the mechanics of trickery and the machinations of power, and the politically astute Spanish film "Even the Rain" belongs in the same conversation with Francois Truffaut's "Day for Night" and Pedro Almodovar's "Bad Education."
  14. Annie is not a great movie musical — but it’s a fun time at the movies.
  15. While the wilderness vistas are starkly beautiful, there’s no tangible sense of Strayed’s ultimate goal. (Why Oregon?) And the flashbacks, which include scenes of sexual misadventure and heroin use, are too brief to provide answers.
  16. Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]
    • St. Louis Post-Dispatch
  17. Because VanDyke wasn’t embedded with the American media, Point and Shoot has some priceless front-line footage, including a chilling scene where he must decide if he’s willing to kill for someone else’s cause. But without a rigorous editor, it’s “How I Spent My Summer Vacation.”
  18. Mostly the movie is about process and perspective. Through the documentary lens, Richter's enigmatic paintings speak to us.
  19. In a movie of murky surfaces and deep loneliness, the redemptive surprise of A Single Man is how it becomes a clear endorsement of the Buddy System.
    • 77 Metascore
    • 75 Critic Score
    One of the pleasures of Edge of Seventeen is it makes you nostalgic for high school yet so relieved it’s over.
  20. This jam-packed picture is too zippily scripted and edited to get stuck in message mode, yet the stellar cast achieves a rare harmonic convergence.
  21. We are reminded: War is hell. But at their best, war movies can be cool and beautiful.
  22. Ice-T delivers a love letter to hip-hop with Something from Nothing: The Art of Rap.
  23. Although the film has elements of a puzzler by Michelangelo Antonioni and a psychodrama by Ingmar Bergman, it never becomes compellingly intellectual or unnervingly emotional.
  24. The larger-than-life actor is as emblematic of his country as Tom Hanks is of ours, and My Afternoons With Margueritte is his "Forrest Gump." Only better.
  25. Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.
  26. Cunningham's answers to pointed questions about romantic love and religious faith are so open-hearted, we understand that he's bigger than just New York.
  27. A sophisticated comedy about New Yorkers who might easily be mistaken for characters in a Woody Allen movie.
  28. Working from a screenplay by Ed Solomon, director Jon M. Chu is more craftsman than poet, but the charismatic ensemble cast engages in the trickery with style.

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