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 A Prophet
Lowest review score: 25 After Earth
Score distribution:
1,021 movie reviews
  1. 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.
  2. 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.
  3. The difference between McKay and Efron is like the difference between a Broadway spectacular and a high school musical.
  4. What's finest about Everybody's Fine is to watch a good fella groping hopefully toward old age.
  5. 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.
  6. 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.
  7. Although this stylish and ominously paced vehicle starts with a full itinerary, it never makes a vital connection.
  8. 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.
  9. Fulfills its mission, which is to be a crowd-pleasing tearjerker.
  10. 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.
  11. 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.
  12. 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.
  13. It's deliberately difficult to untangle the crossed allegiances of the people that Kelly interviews, and it's melodramatic that he tries to smuggle Ming and a surrendered assassin onto a plane bound for the United States. But dramatizing such a complex situation is a necessary evil.
  14. For better or worse, this is a straightforward performance film.
  15. With its seductive images and smart dialogue, The City of Your Final Destination has the setting and circumstances for a ripe family drama or a literary love story, yet it never awakens from its siesta.
  16. The spoof of consumerism scores some predictable points, but the tidy ending is a sell-out to the ultimate marketing machine: Hollywood.
  17. Prince of Persia is woven of recycled fibers, but by the slipping standards of summertime entertainment, it's a magic carpet ride.
  18. It's no classic, but Shrek Forever After is a pleasant reminder that every time a cash register rings, this ogre turns angelic.
  19. A lot of care went into crafting the handsome production but not enough into making the handsome hero come alive.
  20. As a diversion, Babies is like a wind-up toy that will tickle anyone with a pulse. As a documentary, it's like a cache of home videos that will frustrate anyone with an inquiring mind.
  21. Maybe in his native language, Dujardin is no funnier than Steve Martin's "Pink Panther." But with subtitles, his deadpan delivery is hard to resist.
  22. As a testament to traditions that are usually kept hidden from Hollywood, Holy Rollers is a mitzvah. But as a thriller, it's bubkes.
  23. It's not quite infectious, but some of the high notes manage to drown out some of the guttural lows.
  24. The film confirms it's hard to do brain surgery on a battlefield. But it doesn't take a brain surgeon to think it could go deeper.
  25. The most provocative thing in Joan Rivers: A Piece of Work is the moment during the opening credits when we glimpse the comedy legend without makeup.
  26. Why the bloodsucker and the wolf boy treat Bella as if she's the cat's meow is still a mystery.
  27. Christopher Nolan's "Memento" was a movie-lover's dream come true, a puzzle that was engaging both intellectually and emotionally. But his Inception is a wake-up call, a blaring reminder that cheap tricks can't compensate for personal investment.
  28. Jeunet -- whose influence can be seen in everything from the short-lived TV series "Pushing Daisies" to the Oscar-winning film "The Curious Case of Benjamin Button" -- remains one of the world's most imaginative directors. But Micmacs is a misfire.
  29. I Am Love is easy to savor but tough to swallow.

Top Trailers