St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,329 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 6.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 The Social Network
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1329 movie reviews
  1. For his complex portrayal, Day-Lewis is likely to have roses thrown at his feet, but for the dreadful film in which he's enslaved, emancipated onlookers will reach for the grapes of wrath.
  2. There are a few beguiling moments in Holy Motors, particularly a martial-arts sequence and an erotic dance while Mr. Oscar is dressed in a motion-capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.
    • 80 Metascore
    • 50 Critic Score
    McNaughton directs well, and with power, but celebrating murder is a waste of his talents. [17 August 1990, p.3F]
    • St. Louis Post-Dispatch
  3. Duvall is a powerful actor, and this folksy fable could have been a career-capping feat, but the movie is toothless and slow.
  4. 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.
  5. A Bigger Splash? More like a small trickle.
  6. 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.
  7. Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.
  8. 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.
    • 70 Metascore
    • 50 Critic Score
    This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.
    • 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
    • 69 Metascore
    • 50 Critic Score
    This movie is Denzel Washington stopping a speeding train devoid of subtext, blunders and earth-shattering revelations about the human condition. It is precisely as entertaining as it sounds; no more, no less.
  9. Land Ho! is a tepid little movie that goes almost nowhere, and if I had to sit in that rental car for one more boob joke, I’d rather jump into a volcano.
  10. Nocturnal Animals is far less imaginative than even your most banal nightmare.
  11. If you don’t crave the taste of motor oil on your popcorn, Furious 7 can’t end fast enough.
  12. Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
    • 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
  13. On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.
  14. We were promised desolation, but “The Hobbit” just keeps dragon on.
  15. This is another one of those phony movies in which a character burrows into someone else's life without telling them she's an axe murderer, a man or a vampire. Not only that, we're supposed to hope that they get it on. I was hoping that everyone involved would get hit by an asteroid.
  16. Fast Five represents Yankee ingenuity of the brutally stupid kind.
  17. The delivery pouch for Premium Rush promises a white-hot thriller from the bike-messenger subculture. But what's inside the package seems like a lukewarm action-comedy from the pile of scripts that Matthew Broderick rejected after "Ferris Bueller's Day Off."
    • 65 Metascore
    • 50 Critic Score
    This time around, the story seems old and tired as well. The result is a routine space opera, an only moderately entertaining finale to a series that has had some great moments. [6 Dec. 1991, p.3D]
    • St. Louis Post-Dispatch
  18. 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.
  19. Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.
  20. An inconsequential mess.
  21. 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.
  22. More scenic than scary.
  23. It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.
  24. Out of the Furnace is hot air.

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