St. Louis Post-Dispatch's Scores

For 386 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 2.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 The Returned: Season 1
Lowest review score: 0 Black Box: Season 1
Score distribution:
  1. Mixed: 0 out of 265
  2. Negative: 0 out of 265
265 tv reviews
  1. The Returned, in French with subtitles, is beautiful, riveting and above all thought-provoking.
  2. Given how much is right about Fargo, the real reason to watch and keep watching is the storytelling, with more surprises per hour than you can count.
  3. Outstanding. [21 July 2004, p.E01]
    • St. Louis Post-Dispatch
  4. The “Masterpiece” drama returns Sunday, recapturing some of the excitement that made America fall so hard for it three years ago.
  5. In a stifling summer of same-old, same-old on the tube, HBO's Oz is a shock of ice water in the face, a kick in the stomach, an exciting, exhausting, horrifying, mesmerizing trip to hell, operating as the Oswald Maximum Security Prison...For adults who choose to go to hell and (not quite) back, Oz is just about as powerful as TV drama gets. [10 July 1997]
    • St. Louis Post-Dispatch
  6. Quippy, topical but also thoughtful, Master of None is perfectly binge-worthy and thus the ideal Netflix show. If you start watching, be sure to set aside time for all 10 episodes.
  7. Riveting. [21 June 2005, p.E1]
    • St. Louis Post-Dispatch
  8. If Seasons 1 through 4 have bored or baffled or just annoyed you, Season 5 won't win you over. If, on the other hand, you greet the return of Downton with unabashed affection, as I admittedly do, you won't be disappointed, even if some of the storylines feel like reruns, or even when you want to grab a character by the shoulders and shake him or her.
  9. The best cop show of any recent season...It's not for everyone, but it is for anyone who still misses "Homicide" and thinks "NYPD Blue" long ago devolved into soap opera. [10 Mar 2002, p.F2]
    • St. Louis Post-Dispatch
  10. HBO’s deeply involving and completely draining miniseries.
  11. In the four episodes provided for preview, the action seldom lags, but just when we think we’re in for a fun ride this season, something darkens the sun.
  12. The entire cast of The Normal Heart is outstanding, but no one stands out more than Bomer, who is so much the handsome star of USA's "White Collar," in the beginning, then almost unrecognizable as the dying Felix.
  13. Parks and Recreation is a rare gem--a TV comedy that's sweet, good-hearted and even inspirational, but also completely hilarious.
    • 96 Metascore
    • 100 Critic Score
    Riveting, distinctive television that is totally entertaining, in the broadest sense of the word. [8 Apr 1990, p.6G]
    • St. Louis Post-Dispatch
  14. An astonishing achievement, a miniseries that manages to put human faces on the drug culture in American neighborhoods. [16 Apr 2000, p.F9]
    • St. Louis Post-Dispatch
  15. The best new sitcom to come along in years. [2 Nov 2003, p.C4]
    • St. Louis Post-Dispatch
  16. IF George Lucas and company can keep up this pace, The Young Indiana Jones Chronicles should be positively captivating. Lucas has managed to create the seemingly impossible: a new weekly series for television with very nearly the same improbable sense of spectacle and adventure as the breath-defying ''Indiana Jones'' movies on which he and director Steven Spielberg collaborated. [4 Mar 1992, p.9F]
    • St. Louis Post-Dispatch
  17. But Schwimmer does his best TV work yet in Feed the Beast, breaking viewers’ hearts just as Tommy’s has been broken. His pain reaches out and grabs us, and we root for him to find a way to go on.
  18. Superb characterizations and riveting action are leavened by wry humor, making Deutschland delightfully addictive.
  19. What's best about Catastrophe is how engaging the characters of Rob and Sharon are, and how quickly we come to root for them.
  20. Matthew Weiner clearly intended for us to contemplate the mortality of his TV masterpiece when he wove Peggy Lee’s bleak 1969 ballad through Sunday’s midseason premiere.
  21. The Dust Bowl, collecting so much oral history that was about to pass away, is a treasure.
  22. It might be even better--yes, even better, if exceeding perfection is possible--than the first.
  23. Anyone who watches won’t soon forget A Poet in New York, one of the best things on television this year.
  24. From the start, this 2015 Project Greenlight is both educational and completely entertaining. This is a show that was more than worth reviving.
  25. Often uncomfortable to watch, sometimes hilarious soap opera, UnREAL is also both intelligent and thought-provoking, one of TV's smartest and most cynical shows.
  26. Bryan Dykstra was excellent as LBJ in the Rep’s solid production, but the movie, directed by Jay Roach, is almost a different animal, both intimate and broad, giddily exuberant and deeply dark. A bonus: On film, we hear every witty and/or disturbing line.
  27. Manhattan is in other class entirely, the kind of series that is so good, it lifts a network into a whole new tier. What “Mad Men” did for AMC, Manhattan could do for WGN.
  28. The Americans is one of TV's best drama series, if not the best, and it's also one of the most challenging. There are details to remember, nuances to catch and morality to ponder.
  29. The first hour, provided for preview, is spectacular even when seen without completed special effects.
  30. Joan of Arcadia is smart, entertaining and never heavy-handed, one of the season's best. [26 Sept 2003, p.E8]
    • St. Louis Post-Dispatch
  31. Gosh, I love this show. Meet Felicity and prepare to fall in love. [29 Sept 1998]
    • St. Louis Post-Dispatch
  32. Each weekly episode of The Night Manager will feel too short. But the pleasure is so great that we should probably thank AMC for letting it stretch out over six weeks.
  33. Lost is a sci-fi soap opera adventure -- with humor, mystery and interesting characters galore...It's "Survivor" with the one thing "Survivor" lacks -- a terrific script.
    • St. Louis Post-Dispatch
  34. Throughout, this new Roots is great entertainment, full of action and romance, an engrossing yarn about people who feel very real and relatable. But just as the original “Roots” had a powerful emotional impact on Americans, the new one is likely to do so as well, especially given that questions of race are at the forefront of discussion as much now as ever.
  35. "The Amazing Race," which combines the glossy production values of an IMAX movie, the physical demands of "Eco-Challenge" and the human drama of "National Lampoon's Vacation," sets new standards for reality TV. This is as good as it gets. [5 Sep 2001]
    • St. Louis Post-Dispatch
    • 80 Metascore
    • 100 Critic Score
    A fascinating and disturbing vision. [21 Mar 2004, p.F5]
    • St. Louis Post-Dispatch
  36. Fast-paced, darkly funny and scathingly sharp, Political Animals seamlessly blends family drama with real-world issues, including an early crisis in the Middle East.
  37. Insightful, intelligent and very, very funny, the WB's Gilmore Girls is the best not-quite-drama, not-quite-comedy of the new television season. [5 Oct 2000, p.F6]
    • St. Louis Post-Dispatch
  38. Insightful and even important as it is, The People v. O.J. Simpson: American Crime Story succeeds best as riveting entertainment. Just as with the original trial, it’s hard to stop watching.
  39. It's rare to be able to say, unconditionally, that a TV reality show is inspirational, and that everyone will be better for watching. But that's the case with MasterChef Junior.
  40. But most importantly, Spin City should be a hit because of Fox, who's never been more likable than he is here. [17 Sept 1996, p.6D]
    • St. Louis Post-Dispatch
  41. Smart, sweet and often hilarious, "Will & Grace" is everything a sitcom needs to be. [21 Sep 1998]
    • St. Louis Post-Dispatch
    • 94 Metascore
    • 90 Critic Score
    Homicide is fast-paced but reasonably easy to follow. It is fragmentary at times, but somehow cohesive. It's impressionistic in style, yet driven by plot, enlivened by gallows humor and inhabited by intriguing, amusing, startlingly natural characters...You can think of Homicide as "Hill Street Blues" with more grit and less econo-socio-poli-psycho babble; "Law & Order" without the "order" half; "Twin Peaks" with intelligence and discipline as well as style. "Diner" with cops. [31 Jan 1993, p.7C]
    • St. Louis Post-Dispatch
  42. A thoroughly captivating production. ... You'll want to have a couple of blank videotapes ready for this one. [31 Mar 1991]
    • St. Louis Post-Dispatch
  43. Enthralling, must-see television. [10 Sept 1993, p.6EV]
    • St. Louis Post-Dispatch
  44. Yes, I'm hooked on this irresistible reality series... Survivor is a canny blend of MTV's "The Real World" and the Discovery Channel's "Eco Challenge," with a big dash of "Gilligan's Island" goofiness thrown in for good measure. [2 June 2000, p.E1]
    • St. Louis Post-Dispatch
  45. A right-on time capsule of a decade, a warm coming-of-age comedy and the funniest new sitcom on any network this fall. [23 Aug 1998, p.D6]
    • St. Louis Post-Dispatch
  46. Clearly, Rescue Me isn't for everyone, but the fearless, funny series is don't-miss viewing for its legions of fans. [13 June 2007, p.L15]
    • St. Louis Post-Dispatch
  47. "Desperate Housewives" is not just back, but quite possibly better than ever. [24 Sep 2006]
    • St. Louis Post-Dispatch
  48. Razor-edged satire of late-night talk TV from people with an ear for truth and a taste for blood. [14 Aug 1992]
    • St. Louis Post-Dispatch
  49. Bridget Fonda was wrong for the role in the unsuccessful 1993 remake "Point of No Return," but Australian Peta Wilson is terrific in the new version, tough and bitter and innocent at the same time...Sexy, sharply written (and, yes, violent), it's an exciting addition to the USA lineup of original programming. [13 Jan 1997]
    • St. Louis Post-Dispatch
  50. Every step of the way, "Project Runway" gets it right. ... The process of creating a piece of clothing, an outfit or a whole line turns out to be riveting, even for those who aren't particularly interested in fashion. [10 Feb 2005]
    • St. Louis Post-Dispatch
    • 95 Metascore
    • 90 Critic Score
    The difficulty of teasing apart these tangled relationships and getting up to speed on backstory will prove too daunting for some viewers, especially those who prefer quick and tidy resolutions. But if you're willing to tolerate some initial confusion, "The Wire" rewards patience. The dialogue is sharply funny and richly colloquial, and the actors are a constant astonishment.
    • St. Louis Post-Dispatch
  51. It is exciting and involving; its leads are charismatic; and most of all, it feels fresh. [18 Sep 1994]
    • St. Louis Post-Dispatch
  52. Viewers looking for something different, and very funny, should latch on to The Tick and not let go. [8 Nov 2001, p.E1]
    • St. Louis Post-Dispatch
  53. Freaks and Geeks is a grittier "Wonder Years," while retaining some of that show's sweetness. The writing is sharp, and the young stars are vividly, awkwardly real. Spending an hour with them is almost worth going back to high school again. [24 Sept 1999, p.E10]
    • St. Louis Post-Dispatch
  54. If you appreciate challenging, intellectually stimulating drama, this is it...My advice: Watch, absorb, and don't panic if you don't catch every nuance. You'll have time - 23 episodes. [19 Sept 1995, p.6D]
    • St. Louis Post-Dispatch
  55. A fascinating and challenging new drama series. [27 Oct 1996]
    • St. Louis Post-Dispatch
  56. Wonderfully warped...Expect both sly satire and big belly laughs from this summer treat. [4 Aug 1998]
    • St. Louis Post-Dispatch
  57. Ray Donovan is fun, but it’s also heart-breakingly sad and deadly serious, sometimes all at once. In all cases, this is one of the smartest series to come around in a while, sharply written (by creator and executive producer Ann Biderman) with a perfect balance of comedy and tragedy, action and reflection.
  58. It’s terrific. How you respond to it, though, may depend on your mindset as you come into the show. Don’t lower your expectations; dismiss them altogether.
  59. With its deft mix of humor, heart and, well, brains, this new series could work for both the CW set and the CBS crowd.
  60. The final Downton season is satisfying, engaging and nostalgic.
  61. Take a look if you think all the good drama is on cable.
  62. The Bridge translates brilliantly, fitting into its new setting so perfectly, you’d never imagine it had aired in any other incarnation.
  63. The half-star markdown in the rating for Nashville is a knock on Panettiere, whose performance seems too broad, especially in the face of such naturalistic acting from everyone else in the cast. But that flaw can't keep Nashville from being a superb series.
  64. The Americans remains one of prime time's best series, the only negatives at this point being how complicated the plotting is, to the degree at which we almost need a flow chart to keep up. It's a headache, but a great one to have.
  65. Elf: Buddy's Musican Christmas should be on the Christmas TV calendar for years to come.
  66. By the end of Episode 2, you’re likely to be so invested in the characters, you’d stick with them forever, just as book readers have.
  67. The Americans isn't just a heart-pounding action drama; by presenting heroes who are also villains, it also confronts viewers with TV's deepest moral dilemma since "The Sopranos."
  68. The premise isn't unfamiliar, but Lowe and Fred Savage make terrific brothers, and lots of little twists keep the comedy coming.
  69. The humor is genuine; the laughs plentiful.
  70. The new season doesn't live up to the original, admittedly, but it's still far above imitators, including Fox's unnecessary remake, "Gracepoint."
  71. A very funny show. [8 Sep 1991]
    • St. Louis Post-Dispatch
  72. Braugher is such a riveting actor, with so much going on behind his eyes, that he'd probably be interesting reading a list of school closings on the first snow day. [10 Oct 2000, p.F1]
    • St. Louis Post-Dispatch
  73. In his quest to make Murder One - whose fans last season were passionate but few - more "user friendly," Bochco hasn't dumbed it down a bit. [10 Oct 1996, p.6G]
    • St. Louis Post-Dispatch
  74. The musical profited from great casting, with newcomer Shanice Williams (outstanding on all her solos) as Dorothy and a rich supporting ensemble including Stephanie Mills (Dorothy on Broadway) as Aunt Em.... The Wiz Live! (its script updated with humorous touches by Harvey Fierstein) seemed contemporary and relevant, a musical for a time when issues of race and diversity are at the forefront of our culture.
  75. A pleasant surprise. [30 Sep 1993]
    • St. Louis Post-Dispatch
  76. This is a comedy. And it’s a good one, warm and charming, genuinely funny, and also odd enough to come from Tina Fey and writing partner Robert Carlock.
    • 69 Metascore
    • 80 Critic Score
    Cleverly written by executive producer Richard Rosenstock, 'Flying Blind' displays an extraordinary amount of on-screen energy - verbal, physical and sexual - and isn't afraid to throw in an occasional obscure intellectual reference as well. [6 Sep 1992]
    • St. Louis Post-Dispatch
  77. "Without a Trace" offers sharp writing, stylish directing and a cast with real chemistry. [26 Sep 2002]
    • St. Louis Post-Dispatch
  78. Thigpen is terrific as Ella, and she and Nelson have immediate buddy-buddy chemistry. The District could be just the ticket for Saturday night stay-at-homes looking for something upbeat, but be forewarned that the show tunes and peppy speeches are interspersed with bursts of violence so extreme as to make "Walker, Texas Ranger" look like "Sabrina, the Teenage Witch." [6 Oct 2000, p.D7]
    • St. Louis Post-Dispatch
  79. Mob City is smart, stylish, sexy and altogether addictive.
  80. By the time the episode wraps up with a good-vs.-evil clash, though, it's really rolling, with special effects that are both fun and scary. Doherty, Combs and Milano are appealing, and also believable as sisters, and T.W. King adds a down-to-earth touch as police detective Andy Trudeau, Prue's old boyfriend, who suspects that something is up. [7 Oct 1998, p.E6]
    • St. Louis Post-Dispatch
  81. Once it relaxes, however, Scrubs turns out to be a thoughtful show that has dispensed with a laugh track and proves amusing enough not to need one. (Now, let's dispense with those fantasies.) Shot with a single camera in a former hospital, it aims for the exaggerated realism and the light-meets-dark tone of "M*A*S*H" -- a worthy ambition even if it doesn't get there. [2 Oct 2001, p.F1]
    • St. Louis Post-Dispatch
  82. Beyond the "yikes" factor, Nip/Tuck tells compelling stories about its troubled characters. [22 July 2003, p.E1]
    • St. Louis Post-Dispatch
  83. Britain's BBC2 and screenwriter Lucinda Coxon have captured the feverish tone and most fascinating storylines of Faber's book in a miniseries making its U.S. debut.
  84. Some UFO cliches - bright lights, mysterious marks, lost time - turn up here (could they be cliches because they're...true?), but intelligent writing and sharp plotting lift the series far above the standard for the genre. The lead characters have a quirky chemistry that (refreshingly) isn't built on the "squabble and kiss" standard. (They're both pretty appealing, however, and if they should eventually kiss, I for one wouldn't mind.) [9 Sept 1993, p.06G]
    • St. Louis Post-Dispatch
  85. I think 'I'll Fly Away' richly deserves the 'quality' label. That's not to say it has sprung full grown and perfect from the forehead of its creators. [7 Oct 1991]
    • St. Louis Post-Dispatch
  86. Only the darkness of the show is disconcerting. Poignancy is great, and presumably Clark will triumph in his battles against evil. But in post-Columbine, post-Sept. 11 America, humor has never been a more valuable commodity. If Smallville can strike the right balance, the series should fly. [16 Oct 2001, p.F1]
    • St. Louis Post-Dispatch
  87. One of the sweet surprises of the season, a family sitcom that manages to be realistic without being either silly or mean-spirited. It's funny, too. [12 Sep 1996]
    • St. Louis Post-Dispatch
  88. Together, they're TV's Cute and Quirky Couple of the Year. Speaking of cute and quirky - Dharma & Greg sometimes tries a little too hard to be both. But mainly, it's delightful. [24 Sept 1997, p.8E]
    • St. Louis Post-Dispatch
  89. Family Matters has assembled one of the most broadly appealing casts seen in recent years. Reginald VelJohnson, who played the sympathetic cop in the movie "Die Hard," is almost irresistible as a character. And yet the show's concept is so familiar that Family Matters will have to struggle to be fresh, to avoid going over old ground, to give its characters texture and definition. The potential for some excellent comedy is certainly here. [18 Sept 1989, p.1D]
    • St. Louis Post-Dispatch
  90. A quirky mix of light and dark, humor and grit, sentiment and substance -- "The O.C." if scripted by Raymond Chandler. [21 Sept 2004, p.E1]
    • St. Louis Post-Dispatch
  91. It's just what TV viewers want in summer -- fun. [23 Jun 2005]
    • St. Louis Post-Dispatch
  92. Sometimes the action veers into melodrama, and some of its white characters feel cartoonish. The level of violence is sometimes hard to watch, especially in the first episode, and the language is very rough, if appropriately so. But the characters of the slaves are sharply drawn, the action riveting and the mood not always grim. Hodge and Smollett-Bell are magical together. All that makes Underground an important series that doesn't feel like medicine going down.
  93. Involving, enjoyable TV. [5 Oct 1999, p.D6]
    • St. Louis Post-Dispatch
  94. [An] ambitious, wildly energetic and mostly entertaining Grease: Live. Despite a few missteps, and even though, at three hours, the production seemed incredibly long, Grease: Live was above all a lot of fun.
  95. The mystery is wonderfully intriguing; the performances are excellent, especially from Maslany but also from Jordan Gavaris as her foster brother and best friend, Felix.

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