St. Louis Post-Dispatch's Scores

  • Movies
For 957 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 6.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Samsara
Lowest review score: 25 After Earth
Score distribution:
  1. Negative: 68 out of 957
957 movie reviews
  1. There's little that's new in the retelling, except mellowed musings on Environmentalism 2.0.
  2. Moore's voice is weak and fuzzy, directed at a choir that should already know the words by heart.
  3. The thread connecting the ambitious girl to the acclaimed woman is enough to make us wish for a sequel titled "Chanel No. 2."
  4. This topsy-turvy flick is fitfully funny, but more often it's just odd, like the first draft of a "Twilight Zone" episode that's missing its moral.
  5. Extract has some flavor, but the comedic kick is diluted by flat characters and a thin story.
  6. Michael as a character is defined almost solely by his helplessness and gratitude. He's as lovable as a lost puppy, but a more perceptive movie than The Blind Side would have let us see him from another angle.
  7. Reilly is very funny as the sarcastic mentor, and director Paul Weitz strikes a loopy tone in the scenes at the freak encampment.
  8. It's funny but (sorry, ladies) unrealistic that Jake continuously sneaks away from his young wife to canoodle with Jane. Baldwin is a blast, but the role requires him to indulge in indignities such as a naked webcam conversation.
  9. What's most conspicuously missing from this ensemble is some input from the advertisers who subsidize Wintour's tyranny, and the readers who are seduced into buying her beautiful four-pound paperweights.
  10. Unfortunately, producers (including James) went for the easy layup, showing so much on-court action instead of trying to hustle for insights about sports and society.
  11. Moves along well until the characters and situations become too ridiculous to be believed.
  12. Weaving between freshness and formula, The Boys Are Back earns a gentle pat on the head.
  13. Raises more questions than it can answer in its travelogue format. It's because the premise is so intriguing and the drama is so compelling that the result is so confounding.
  14. Even as Bard, filmmaker Milos Forman and Ferrara himself bemoan the changes, the lobby is filled with fine art -- and guests who aren't likely to harm you.
  15. Neither a comprehensive guide nor consistently good, but because the theme is romance, most of these small bites of the Big Apple are easy to digest.
  16. Tests the loyalty of fans that may expect his work to be extreme, but not to such an extent.
  17. It's a calculated crowd-pleaser that skims over the surface of the era like a cruise-ship production of "American Graffiti."
  18. Johnny Depp, Jude Law and Colin Farrell do yeoman work on behalf of their late friend and, as usual, Gilliam's film is a feast for the eyes. But all the king's men can't corral the horses running roughshod over basics like plot and character.
  19. It's a pleasure to watch Ryan resurrect her trademark persona, a mix of perkiness and pique, as she flounces around the room. But it's shaded with a middle-age desperation that's half real and half chick-flick shtick.
  20. The difference between McKay and Efron is like the difference between a Broadway spectacular and a high school musical.
  21. What's finest about Everybody's Fine is to watch a good fella groping hopefully toward old age.
  22. As much Fosse as Fellini. It’s a shadow of a shadow, refracted through a fun-house mirror. For all the noise and color, it feels like an exercise and not a natural expression.
  23. If not for Blunt's solid performance and good support from Friend and others, The Young Victoria would not be worth the price of the ticket.
    • 41 Metascore
    • 63 Critic Score
    The excellent animation makes up for a so-so plot, but it really doesn't matter. "The Squeakquel" is for kids.
  24. Although this stylish and ominously paced vehicle starts with a full itinerary, it never makes a vital connection.
  25. Director Philipp Stolzl worked in the same dangerous conditions as the original climbers, and we can feel the chill and peril in our bones. It's a shame, then, that the screenwriter, unlike the camera crew and the characters, was afflicted with such timidity.
  26. Fulfills its mission, which is to be a crowd-pleasing tearjerker.
  27. Like other so-called "mumblecore" movies, including Bronstein's own "Frownland," this is an unnervingly intimate glimpse of dysfunction, with a shaky-cam aesthetic and seemingly improvised dialogue.
  28. The CGI effects are a familiar sort and so is the heroic-quest motif. The principal virtue in this modest entertainment is that the young characters act like real teenagers.
  29. While the rich people who violated a dead antagonist's wishes seem sleazy (especially when they refuse to be interviewed), transporting world-class artwork five miles to a bigger facility where more people can enjoy it hardly seems like the end of civilization as we know it.

Top Trailers