St. Louis Post-Dispatch's Scores

  • Movies
For 967 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 The Kids Are All Right
Lowest review score: 25 Law Abiding Citizen
Score distribution:
  1. Negative: 69 out of 967
967 movie reviews
  1. This quasi-horror film has the great director's usual craftsmanship and a stellar cast, but ultimately it's an infuriating trick that makes its most provocative ideas disappear.
  2. Although the film begins promisingly, it proves to be little more than a soap opera.
  3. The result is only half as hip as hoped. Yes, this Holmes is leaner and meaner, and Watson (Jude Law) is nearly his equal. But there’s still something fussy about the result, as if bobbies had broken up the party at 11:59.
  4. This movie may be sickly sweet, but it's harmless; and as a handcrafted antidote to a toxic toy story like "G.I.Joe," Paper Heart has healing properties.
  5. While it may not be a smorgasbord of red herrings and red meat, Flame and Citron is often chilling.
  6. Two incompatible movies duke it out in Bandslam. Although it's the wimpy teen musical that prevails, it's the misfit coming-of-age story that leaves an impression.
  7. There's little that's new in the retelling, except mellowed musings on Environmentalism 2.0.
  8. Moore's voice is weak and fuzzy, directed at a choir that should already know the words by heart.
  9. The thread connecting the ambitious girl to the acclaimed woman is enough to make us wish for a sequel titled "Chanel No. 2."
  10. 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.
  11. Extract has some flavor, but the comedic kick is diluted by flat characters and a thin story.
  12. 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.
  13. Reilly is very funny as the sarcastic mentor, and director Paul Weitz strikes a loopy tone in the scenes at the freak encampment.
  14. 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.
  15. 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.
  16. 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.
  17. Moves along well until the characters and situations become too ridiculous to be believed.
  18. Weaving between freshness and formula, The Boys Are Back earns a gentle pat on the head.
  19. 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.
  20. 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.
  21. 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.
  22. Tests the loyalty of fans that may expect his work to be extreme, but not to such an extent.
  23. It's a calculated crowd-pleaser that skims over the surface of the era like a cruise-ship production of "American Graffiti."
  24. 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.
  25. 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.
  26. The difference between McKay and Efron is like the difference between a Broadway spectacular and a high school musical.
  27. What's finest about Everybody's Fine is to watch a good fella groping hopefully toward old age.
  28. 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.
  29. 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.

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