St. Louis Post-Dispatch's Scores

  • Movies
For 1,021 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 6.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Fruitvale Station
Lowest review score: 25 Alex Cross
Score distribution:
1,021 movie reviews
  1. A film that aims for the stars and may have found one here on earth.
  2. Like black coffee that's flung in our face, The Killer Inside Me silences the question of whether it's good or bad. But for darn sure, it's strong.
  3. Cameos from actors portraying Little Richard, Mick Jagger, Frankie Avalon and Alan Leeds add up to some fun.
  4. Gleeson is great as the troubled, conscientious priest, but until an abruptly shocking finale, his fatalism turns the ticking clock into a congested hourglass.
  5. While director Michael Roskam lays the groundwork for a heist thriller, The Drop is fueled by character, not plot.
  6. What makes Love Is Strange so special is that the challenges the couple face are more mundane than menacing.
  7. It has a game cast, it’s watchable, fun, sick, sad and has to be seen to be believed.
  8. In a poignant and potentially depressing film, it’s redeeming to see that when they are with their kindred spirits, even the saddest skeletons can dance.
    • 59 Metascore
    • 75 Critic Score
    Director David Fincher, making his feature film debut in strong style, keeps the action fast and furious, though the climactic scenes look an awful lot like the ending of ''Terminator 2.'' It may be just another sequel, but Alien 3 is better than most, and follows nicely after the first two. [22 May 1992, p.3G]
    • St. Louis Post-Dispatch
  9. Ultimately what makes Gone Girl so watchable is the three-headed monster of Fincher, Pike and Affleck. The director bathes the B-movie scenario in the queasy-green hues of a morgue, while Affleck flashes his million-dollar smile like a dime-store Dracula and the beautifully inscrutable Pike absorbs the light like a wax mannequin. If it’s true that Nick and Amy were made for each other, they were made in a fiendish lab.
  10. A genuinely touching and occasionally powerful film, not least because the boys are so disinclined to pity themselves.
  11. Despite playing with a stacked deck, The Judge is guilty of exceeding expectations.
  12. One one level, Pride is as fake as a lip-sync revue, yet the emotions it arouses are real.
  13. While the chronological details and social significance of the story Webb reported get shortchanged, Kill the Messenger is a vital reminder that a free press must be free to press the powerful for answers.
    • 41 Metascore
    • 75 Critic Score
    A splendid murder mystery, but one with as much gore and steamy sex as I've seen in a long time. [20 Mar 1992, p.3F]
    • St. Louis Post-Dispatch
  14. The iconic actor may be too gruff for sainthood, but Murray still retains a secret stash of soul.
  15. Directed by and starring Mathieu Amalric, it’s a deceptively low-key riff on a Hitchcock whodunit. It’s both sexy and inscrutable, a cold-blooded puzzler to the very end.
  16. Most biographical docs contain a montage of old footage, but this one is especially haunting. As Campbell watches home movies, he has to ask Kim to identify the people on screen, including his ex-wives, his children and his younger self.
  17. Mbatha-Raw continues to be a true revelation in a role that could be not be any more different from her star turn in “Belle” this year.
  18. Bernal (“Y Tu Mama Tambien”), an actor of Mexican heritage, brings to the role a charismatic resolve. It’s an impressive and impassioned performance.
  19. Although it doesn’t make a lick of sense as a stand-alone story, Mockingjay — Part 1 is the first “Hunger Games” movie with meat on its bones.
  20. Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]
    • St. Louis Post-Dispatch
  21. While the wilderness vistas are starkly beautiful, there’s no tangible sense of Strayed’s ultimate goal. (Why Oregon?) And the flashbacks, which include scenes of sexual misadventure and heroin use, are too brief to provide answers.
  22. Because VanDyke wasn’t embedded with the American media, Point and Shoot has some priceless front-line footage, including a chilling scene where he must decide if he’s willing to kill for someone else’s cause. But without a rigorous editor, it’s “How I Spent My Summer Vacation.”
  23. Annie is not a great movie musical — but it’s a fun time at the movies.
  24. Throughout his career, Burton has always been capable of surprising audiences. Big Eyes is no exception.
  25. Within the bloodshot-eye perspective of their other stoner comedies, it’s bluntly funny and ever-so-slightly sweet.
  26. Indeed, most of the famous faces are surprisingly adept at singing. Even when the actors are not lip-syncing (which seems to be about half the time), the dense, clever lyrics are intelligible.
  27. For modern moviegoers, the earthy Mr. Turner may seem like slowly steeped tea with an unpleasant aftertaste. But while some are impatiently waiting for the paint to dry, astute viewers will see a cinematic landscape bloom.
  28. Taking potshots at American Sniper is like shooting fish in a barrel. So why should war-weary Americans see it? Because Eastwood remains a masterful action director, and this may be his last hurrah. Because Cooper is one of our best young actors, and he poured a lifetime of craft into stilling his character’s heartbeat.

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