St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,131 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 6 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Driving Miss Daisy
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1,131 movie reviews
  1. Footloose poses as a bold update, but it's shockingly out of step with the times.
  2. In the end, audiences will be neither shaken nor stirred. Just bored and confused.
  3. Here, the scattershot spoofery never rings true.
  4. Fast Five represents Yankee ingenuity of the brutally stupid kind.
  5. Mostly "Hoodwinked Too" is playing to young video gamers, with overblown action sequences and slangy 'tude.
  6. People over 60 are as sexual and complicated as their grandchildren, and there ought to be more movies about them, but only an audience as constipated as these characters could mistake this lukewarm stream of pablum for a hard nugget of truth.
  7. After a nifty setup, In Time mostly fails to deliver as it gets lamer by the minute.
  8. Ultimately it's sunk by the hole in the middle: Paul Campbell (presidential aide Billy on "Battlestar Galactica") who substitutes smarm for charm as the archetypal player who gets played.
  9. To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue.
  10. Snark is not art. In the evolutionary spectrum of cinema, Natural Selection is like the duck-billed platypus, pretending to be warm-blooded but more than a little fowl.
    • 29 Metascore
    • 50 Critic Score
    Most. Depressing. Christmas. Movie. Ever.
  11. By design it’s monotonous, and with so much clunky hardware, Liman can’t generate the same pace he produced in the “Bourne” movies. Edge of Tomorrow has neither an edge nor a vision of tomorrow that matters today.
  12. It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
  13. RED
    Red is an insult to our memories and to our intelligence, an unfunny farce whose veteran cast is cashing a retirement check.
  14. Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
  15. So friction-free that it slips from memory before the credits fade.
  16. In my old New Jersey public school, the first thing we learned was the smell of baloney.
    • 70 Metascore
    • 50 Critic Score
    This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.
  17. We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.
  18. Proficient director Peter Berg ("Hancock") keeps the noise so deafening we can't think about how preposterous it all is.
  19. The comedy is so lame that the whole enterprise comes across as depressing.
  20. It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.
  21. The flashbacks, which get almost as much screen time as the present day story, are far more compelling.
    • 67 Metascore
    • 50 Critic Score
    Is briefly entertaining but shows mainly that sports films featuring women are no better than those featuring men. Much of the problem belongs to director Penny Marshall, who reaches for the cliche, and for the easy way out, each time the movie seems to be about to make a serious statement about women or about baseball. [3 July 1992, p.3G]
    • St. Louis Post-Dispatch
  22. There’s a good movie to be made about the alienating effects of modern technology. In 2013, a little-seen indie called “Disconnect,” starring Jason Bateman, came closer than this well-intentioned failure, which has virtually no heart, humor, sense of place or central point of view. In trying to be a big, important movie, Men, Women & Children is about none of the above.
  23. The way that Muppets Most Wanted grabs for the green is criminal.
  24. His (Eastwood) first boring film.
  25. The latest Hollywood version of the Godzilla story is neither fun nor fearsome. It’s an empty spectacle in which the humans are as meaningless as the monster.
  26. Technically proficient enough to keep us intrigued; but we shouldn't have to Google a movie to know if we were scared.
  27. Letters to Juliet has about half as much Shakespearean content as "Shakes the Clown" and even less sincerity.

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