St. Louis Post-Dispatch's Scores

  • Movies
For 1,029 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 6.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Driving Miss Daisy
Lowest review score: 25 Jersey Boys
Score distribution:
1,029 movie reviews
    • 65 Metascore
    • 75 Critic Score
    With its excellent, offbeat cast, its sprightly pacing and its goofy tone, Tremors is the kind of movie that propels you out of the theater with a grin on your face. [26 Jan 1990, p.3F]
    • St. Louis Post-Dispatch
  1. 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.
  2. Post-Dispatch classical music critic Sarah Bryan Miller told me that Gould's music is as divisive today as it was 50 years ago, when the pianist publicly clashed with conductor Leonard Bernstein over the tempo of a performance.
  3. 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.
  4. 42
    The inspirational movie named for Robinson’s number is too dignified to throw audiences a curveball, let alone a knockdown pitch, but its solid fundamentals make it a winner.
  5. Two things that the British know that most Americans don't: Michael Sheen is the best actor in the English-speaking world; and soccer is the only football that matters.
  6. Sometimes macabre and sometimes manipulative, but the way it speaks to the spirit is miraculous.
  7. This thriller is both skillfully familiar and chillingly strange.
  8. This deadpan police story produces unexpected chills.
  9. Some may scoff when the boys exhibit traits and interests derived from the biological parents they never knew, but The Other Son is such a disarming feat that cynics will get left at the checkpoint.
  10. 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.
  11. $9.99 may not be entirely successful from a dramatic perspective, and it certainly offers little enlightenment about the meaning of life. But the film is so intriguing in other ways that it's definitely worth a look.
  12. While it's satisfying to see fat cats tamed by science and an enraged public, the movie misses the opportunity to sustain the pressure.
  13. It comes together with a gruesome though excellent ending that some will find difficult to shake.
  14. There will never be another Marilyn Monroe or Elizabeth Taylor, but Hollywood may have found a new Lee Remick in Mary Elizabeth Winstead.
  15. Goodbye First Love is like a postcard from a lost Eden, a painfully pure oasis where we're not allowed to linger.
  16. The Big Picture ends perhaps a bit too ambiguously, but there's something refreshing about its faith in the moviegoer's intelligence.
  17. Isn't as memorable or provocative as it might have been. But it's an engaging love story that should appeal to moviegoers with a flair for the offbeat.
  18. Photography — and thus filmmaking — is painting with light. The connection is illuminated in the lovely Renoir, a twilight-years biography of the great French Impressionist.
  19. Fortunately, Fish Tank feeds us more than crumbs and leaves us feeling like we've come up for air.
  20. Rock misses the boat in deciding not to relate Good Hair to non African-Americans more.
    • 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
  21. The four leads are entirely engaging including the manic Hart.
  22. Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."
  23. Scabrously funny yet essentially gentle, as the main thing that it's probing is our collective ignorance.
  24. What's lacking is a galvanizing performance comparable to that of the Oscar-nominated Catalina Sandino Moreno in "Maria Full of Grace." Still, The Forgiveness of Blood is a memorable portrait of a society and the demands it makes on those caught up in it.
  25. At its heart, this is a compassionate character study. Robbie’s tenderness toward his son and his remorse for a street fight are the raw ingredients of a ripening consciousness.
  26. Stölzl blends romance and melancholy in fine style.
  27. A genuinely touching and occasionally powerful film, not least because the boys are so disinclined to pity themselves.
  28. Periodically deviating from its fly-on-the-wall aesthetic, the film does a noticeably better job than the Joan Rivers movie of incorporating old footage and photos to underscore its subject’s importance.

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