St. Louis Post-Dispatch's Scores

For 445 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Cosmos: A Space-Time Odyssey: Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 308
  2. Negative: 0 out of 308
308 tv reviews
  1. The Jim Gaffigan Show isn't cutting edge or hilarious. It doesn't make us cringe in embarrassment. It's just cute, and sometimes, that's enjoyable enough.
  2. Limitless isn't bad, but it's not mind-expanding.
  3. The pleasantly fresh setting is the North Dakota oil boom, but the tone is very "Dallas," and the storytelling is as melodramatic as the show's title.
  4. Science-fiction meets crime-solving buddy drama in an extension of the 2002 movie.
  5. The movie doesn't always take itself seriously. ... But with its dual messages of "hold your families close" and "always be kind," Dolly Parton's Christmas of Many Colors: Circle of Love is ultimately as sweet as the Whitman's Sampler the Parton kids get to dive into.
  6. Steinberg promises that Black Sails, with no parrots and no peg legs, will be pirate-cliché free. Unfortunately, the female characters don’t escape sexist stereotypes. And that keeps Black Sails from being as much fun as it might have been.
  7. This is a cartoonish Army, under orders to take pratfalls whenever possible. You'll laugh. Or you won't.
  8. Based solely on the premiere, American Horror Story: Freak Show might rate a rave, or at least a "great if you like this sort of thing." But since the first season, I've learned that Murphy and Falchuk don't reliably follow the path they start down, often seeming to prefer to gross viewers out than tell a coherent story.
  9. It's kind of charming, and sporadically funny, but nothing special. [23 Sept 1993, p.8G]
    • St. Louis Post-Dispatch
  10. Not only does all this style interfere with and distract from the show's content, but the strain to be unconventional leads viewers to expect the unexpected, robbing it of dramatic impact. And that's too bad, because there does seem to be something interesting going on here. [10 Jun 1992]
    • St. Louis Post-Dispatch
  11. Queer as Folk tries hard to expand the portrayal of gays on television beyond stereotypes. Unfortunately, the shock factor is so high that few viewers whose minds might be opened seem likely to stick around for the learning experience. [3 Dec 2000, p.C2]
    • St. Louis Post-Dispatch
  12. Brewster Place has chosen to forgo sophistication or subtlety in favor of little homilies that come off just a tad heavy-handed. [30 Apr 1990]
    • St. Louis Post-Dispatch
  13. The laughs - more like chuckles, actually - are predictable, but Jones is a cutie, and he and Sheen are charming together. [22 Sept 2003, p.E6]
    • St. Louis Post-Dispatch
  14. In no way does NYPD Blue even approach the brilliance of Barry Levinson's police drama, "Homicide," which aired briefly last spring and still could return. So if you exercise your right to change the channel when it comes on, you won't be missing greatness. [19 Sept 1993, p.7F]
    • St. Louis Post-Dispatch
  15. The Nightly Show With Larry Wilmore got off to a promising if uneven start Monday on Comedy Central, with Wilmore's opening segment much stronger than a chaotic panel discussion that followed.
  16. Every performance is strong, and the writing is solid. Unfortunately, "Soul Food" has succumbed to premium-cable syndrome, including extremely graphic sex scenes that will put off many viewers who might otherwise have enjoyed it. [28 Jun 2000]
    • St. Louis Post-Dispatch
  17. Peter Pan Live!, while better in many ways than last year's "Sound of Music Live!," was still uneven, partly because of casting and partly because of the dated source material.
  18. Not everything in the first show worked. A too-long segment involving a magic amulet that segued into a commercial for hummus (apparently actual, paid product placement) felt odd, but not unlike many "Colbert Report" bits. An appearance by George Clooney, with nothing to promote, also fell a bit flat. The Bush interview was more successful, although Colbert seemed over-caffeinated or perhaps just over-excited to finally be on the air.
  19. It's not terrible, just standard-issue sitcom, with relationships that don't feel true and laughs that seem forced.
  20. There are smiles, but also cringes. Cyrus is terrible, and even May can't do much with this. Allen is Allen.
  21. After its overwrought pilot, Doubt could settle into being a perfectly watchable show for fans of the genre. The jury, however, remains out.
  22. I don’t dislike the show Reckless could be, and Gigandet and Wood are cute together ... But the pivotal case, in which many officers may have drugged and raped a colleague, demands to be taken seriously ... Switching back and forth to lighthearted flirtation feels terribly wrong.
  23. The new Arrested Development is uneven--but Arrested Development always was, even at its peak. Binge-watching, though, makes it seem even more uneven, and that's too bad.
  24. [Creators Ryan Murphy and Brad Falchuk] want to horrify and disgust their audience, pushing well into the realm of slasher porn as perversions, sexual and otherwise, bleed into pleasure killings. Disturbing us is the point, of course, but good horror stories go beyond grotesqueries and gore. American Horror Story: Hotel may do that.
  25. [The cast] throw themselves into Kirstie wholeheartedly, but it's hard not to feel that they're slumming.
  26. Even for MTV’s young target audience, the characters in Scream are remarkably empty and bland. But this is a slasher show, after all.
  27. The show (co-created by Spelling) is standard-issue cable sitcom, with acting that's too broad (Garth is the exception here) and a laugh track that's loud and awkward.
  28. Set in Miami, Ballers is good at showing both the shiny high life of professional athletes and its dark, sad underbelly. But if you’re looking for laughs, keep looking.
  29. MacGyver isn't going to set prime time on fire. But it's watchable enough, and it seems like a good Friday night fit with CBS' "Hawaii Five-0" and "Blue Bloods."
  30. “Ballers” and “The Brink,” have their moments, neither provides a lot of laughs.
  31. There was a lot to enjoy, but also so many wrong-headed choices as to make viewers sometimes wonder exactly why we were bothering.
  32. As executed, it almost seems like a parody of the genre.... Beghe's growly, macho performance is hard to stomach, getting in the way of even noticing the attractive supporting cast.
  33. Bad and dark and confusing things ensue, but the human characters are so completely unengaging.
  34. I wish desperately that it wanted to be funnier. The only real smiles come from Louie Anderson as the clown's mother.
  35. Fox originally provided a different pilot for Rake, one that wasn't so lighthearted. (Really.) That episode will air later, after, the network hopes, we've come to love this bad boy despite his foibles.
  36. Shooter isn't badly done. Some of the dialogue is cheesy ("Your country needs you"), and characters feel like cardboard cutouts. But Phillippe is sympathetic enough, and there is real tension throughout, with an exciting (if not exactly shocking) twist at the end of the premiere. The problem is that Shooter doesn't feel like the right show for our times, which are already tense enough.
  37. In the first two episodes, a lot of the gags are just stupid: a stuffy man gets a cake in the face; Mary gets caught in a medieval chastity belt...But Taylor makes Mary easy to like, and John Cameron Mitchell provides nice counterpoint as her pal Derrick, who works in fashion photography and has an ironic comment on everything. [9 Sept 1996, p.6D]
    • St. Louis Post-Dispatch
  38. The line between charming and annoying is pretty fine here, and although Ed is indeed a cute show, I finished two episodes feeling more annoyed than charmed. Much of this zaniness seems as forced as the romance between Ed and Carol, which needs more time to develop. Maybe she'll grow to love him. Maybe you and I will, too. [8 Oct 2000, p.F6]
    • St. Louis Post-Dispatch
  39. The first episode does explain the premise pretty clearly--if you pay close enough attention and aren't laughing too hard.
  40. Adrien Brody is impressive as Houdini in the History Channel's two-night biography, and many of his stunts are re-created (and explained) in fascinating detail. But the miniseries, a co-production with Hungary, Houdini's home country, is too slow and too-often hokey to rate a rave.
  41. The judges seem well chosen. Unfortunately, The Taste kicks off with a bland and sluggish two-hour casting session.
  42. Divorce in the early going is not just dark but also slow and mopey--sometimes downright depressing.
  43. [Patrick Stewart is] a fantastic sport about the silly things asked of him, but that just makes it more of a shame that the show's writing doesn't do better by him.
  44. Think of this, maybe, as a "Glee" version of "Rocky Horror." The musical numbers range from entertaining ("Time Warp" gets a big, loud production) to fine. The pretty young cast struggles with the tone, except for Justice, who takes her role so seriously, she seems to be in a different movie.
  45. Writer Sarah Phelps has done her best, but short of throwing out Rowling's characters and plot, there was no real way to make The Casual Vacancy bearable.
  46. Together, they're charming, but the "will they or won't they?" romantic tension feels forced, and that takes much of the fun out of it.
  47. Bursts of violence aside, Agent X doesn’t work well as an action thriller. And while watching it for comedy, intentional or not, is more enjoyable, that’s probably no reason to tune in every week.
  48. One episode does not a season make. But the Season 9 premiere, "New Guys," is as uneven as most episodes have been for the last few years.
  49. There's a plot, which any of us could have written in our sleep.
  50. Every single thing about Crowded feels familiar, as if we've seen it many times, which we have.
  51. The acting is pretty much non-existent, casting is weak, and the special effects are unimpressive. But there's some terrific makeup work on some of the non-human creatures around, and somebody went to the trouble of deciding that a space station for many different species would have to be equipped with many different environments to accommodate them...Nice touch. [22 Feb 1993, p.5D]
    • St. Louis Post-Dispatch
  52. “I am confused about everything,” Peter tells his girlfriend before fleeing the scene of a bully smackdown. Sampling The Messengers, you may be too.
  53. There are nice moments, especially from Holloway, whose quips are vastly more clever than the rest of the show.
  54. Szymanski, who directed from a script by Murray Miller, gets the look of the documentary, including some real footage mixed with new scenes made to look vintage, just right. The tone, though, is so broad, we never for a second forget the “mocku” in the “mentary.”
  55. The original pilot was a mess, confusing and annoyingly full of holes, but an extremely well-cast mess with a lot of potential. [17 Sept 1995, p.6C]
    • St. Louis Post-Dispatch
  56. Saldana seems to be sleepwalking through most of it, and we rarely feel Rosemary’s fear. Rather than jumping in your seat, you’re more likely to pick up a magazine.
  57. The murky and unnecessary string of overwrought mysteries makes it sadly skippable.
  58. Do No Harm expects us to accept the dual-personality premise without grounding it in anything believable.
  59. Some of the special effects are magical; others are genuinely terrifying. But with so many characters, and such an abundance of twists and turns and truths and lies, keeping up is exhausting even in the first two hours. And none of the characters, especially the mopey Quentin, is engaging enough to make it worth the effort.
  60. The Expanse cuts viewers no slack. It plunges so quickly into its world that you may think, as I did, that you accidentally failed to watch the first episode.... Colorful characters, banter and some zero-gravity sex are more selling points.
  61. The pace is generally fast enough to distract from the convoluted plot.
  62. The Next adds a door-knock component, providing a Publishers Clearing House-style surprise, and has the stars hang out with their proteges at home, which isn't really as entertaining as you'd think.
  63. If you enjoy animal sight gags, Animal Practice will provide at least a few laughs.
  64. It's summer, and this is a scripted, first-run network TV series. That's something. And maybe everyone hasn't seen a dozen dramas with similar troubled-family plots, many (Netflix's "Bloodline," for instance) much craftier.
  65. It's hard to know where a middling comedy will go from just the pilot.
  66. Long on scenery and even longer on schmaltz. The kids are fine; Gregory Smith is the show's strongest link as complicated, 15-year-old Ephram, and Vivian Cardone ("A Beautiful Mind") is off-the-scale adorable as 9-year-old Delia. But Williams' conversion to small-town doctor seems forced, and so do the quirks of Everwood residents. It's nothing that a prescription for better writing couldn't fix, however. [16 Sept 2002, p.D6]
    • St. Louis Post-Dispatch
  67. Everything about this new summer show is confounding. Is it horror? Political satire? Slapstick comedy?
  68. Saving Hope is pretty easy to watch, despite its abundant potential for eye-rolling.
  69. The writing is clunky and the acting is almost universally stiff. The characters need to be much more engaging to keep us from wanting to jump overboard from The Last Ship.
  70. An occasionally funny new TV Land comedy.
  71. The Firm is tedious but not terrible; whether it will be watchable depends, one, on how much you like legal procedurals and, two, how the ongoing McDeeres-in-jeopardy plot is handled in future episodes.
  72. The Whispers (created by Soo Hoo and claiming Steven Spielberg as an executive producer) is too slow and self-consciously creepy to hold my attention for long. Your response may vary.
  73. As for the story, it's so murky and convoluted that following it requires a lot of work--far too much work for something so flat-out ridiculous.
  74. Perhaps over that time, it will evolve into the buddy dramedy it needs to be. Until then, though, it's just another police procedural, and prime time already has plenty of those.
  75. So mainstream, it makes "L.A. Law" look like experimental theater. It's not bad, just very familiar. [4 Mar 1997]
    • St. Louis Post-Dispatch
  76. It's ridiculous, but it doesn't bite.
  77. "Awws" are more frequent than laughs.
  78. Meyers is likable and pleasant, and the first show probably isn't a good indication of what his Late Night will eventually be like. In the early going, though, there isn't much fresh happening there.
  79. It's too silly for real horror fans and too gross for the fainthearted.
  80. The musical numbers are the best part of Star, and all three of the young leads seem to have singing talent as well as fresh faces. ... The negative to that is that none of the three is much of an actress, and their weak performances can't give the show the weight or momentum it needs. Awkward dialogue and cliched plots are additional problems.
  81. Adam Horowitz, Edward Kitsis and Ian B. Goldberg ("Once Upon a Time") created Dead of Summer, and they have paid more attention to the moody atmosphere and opportunities for scares than to the characters--at least, the living ones.
  82. I suspect that viewers who know the Bible well will be annoyed by "The Bible," while those who are casual students will be alternately mildly entertained and fairly bored. People with no religious beliefs probably won't watch anyway, but if they do, they could wind up confused or amused.
  83. The audience is expected somehow to understand the range of her abilities, but sorry; we need more clues. That, and a reason to care.
  84. A loud, old-school comedy with Laurie Metcalf ("Roseanne") as mom Marjorie and Tyler Ritter (look-alike younger son of the late John Ritter) as gay son Ronny.
  85. Caruso is stiff and grim, and the crew doesn't click with him or one another. [23 Sep 2002]
    • St. Louis Post-Dispatch
  86. The tone is mostly dreary and the plot with few exceptions goes precisely where you expect.
  87. It's still hard to expect much out of a sitcom arriving on broadcast TV in summer. In the case of NBC's Undateable, that's a good attitude. If you get a few laughs out of it, great. Otherwise, no hopes will be dashed.
  88. Adapted from a Dutch series that was surely better than this, Red Widow is trite and tedious.
  89. Unfortunately, this Dracula isn’t fun at all. It’s not really scary, either, although it does spill a lot of blood.
  90. Enjoying Timecop either requires putting your mind entirely into neutral or simply deciding to suspend a lot of disbelief. I couldn't suspend enough, so I wound up worrying about little things like why the folks of Victorian London, which he visits in tonight's opener, don't think Logan's spiky 1997 haircut is one bit peculiar. [22 Sept 1997]
    • St. Louis Post-Dispatch
  91. Moments of sweetness, but too few laughs - and way too many sexual references. [8 Sep 2002]
    • St. Louis Post-Dispatch
  92. Uneven, from amusing to embarrassing. [8 Oct 2000, p.F6]
    • St. Louis Post-Dispatch
  93. In short, tight, low-cut everything, with her talents always on prominent display, Cox appears so much older than the baby-faced Von Esmarch that their relationship looks perverted, if not illegal. [8 Oct 2000, p.F6]
    • St. Louis Post-Dispatch
  94. Wainwright’s treatment of the subject is eccentric, shifting from surreal childhood scenes to stifled adult life in the claustrophobic parsonage. The sisters--Finn Atkins as Charlotte, Charlie Murphy as Anne and Chloe Pirre as Emily--are cranky, chilly and generally unlikable. ... The Yorkshire accents are only the start of the problem. Low-talking and a loud music track conspire to make much of the dialogue unintelligible.
  95. The writing is clunky, Phillippe is stiff and Lewis overacts like a cop in some parody of cop shows.
  96. Zoo has 13 hours, and many more animals, to make some sense of its zany story, but the leaden dialogue is almost certainly to make that seem much, much longer.
  97. Unfortunately, the premiere is more depressing than scary, often feeling as if we're being sucked slowly into quicksand.
  98. The dialogue Arquette is forced to deliver is the worst thing.
  99. CBS already has (and has had) a lot of shows like Bull, only better constructed and less annoying. Even Weatherly's most devoted fans may find this one a load of bull.
  100. What Chasing Life mainly raises, though, is eyebrows, for being so laughably bad.
  101. A grim and goofy sci-fi saga.
  102. One Big Happy isn't fresh or funny enough to transcend its message.
  103. The lead characters for whom we're supposed to root in Manhattan Love Story feel as slapped together as people stranded at a speed-dating event.
  104. Everything about The Catch is annoying, from the basic premise to the impossible twists to especially (somehow, especially) the insistent soundtrack that is supposed to whip us into a froth of excitement.
  105. The series itself turns out to be less "candid and comic" (as HBO puts it) than tired and tacky. [4 June 1998, p.G6]
    • St. Louis Post-Dispatch
  106. It's all too cringe-worthy, even as Wilson goes all out to show us that she's happy the joke's on her. Even if you applaud her for that, Super Fun Night is not funny enough to be so sad.
  107. Knepper is wonderfully creepy. But that's the last of the good news. From Rockne S. O'Bannon, Cult is too complicated for its own good, and not satisfying enough to make it worth figuring out.
  108. Superstore improves somewhat, or at least becomes faster-paced, in two more episodes provided for preview, including one that will air second Monday night. It also becomes cruder and more outright bizarre, which is probably a promising sign. In the early going, though, it isn't quite as funny as something you'd see in a real big-box store in St. Louis any given weekend.
  109. Uncle Buck needs to be smarter, funnier, and, honestly, a different show. Epps too deserves better.
  110. This American version incorporates the redneck humor so beloved in reality TV these days with battle-of-the-sexes cliches that should have been retired in the '70s.
  111. Relaxed as he seems on stage, he's just that stiff when acting. And that, unfortunately, is most of the time.
  112. Sheen and Bruce Helford ("The Drew Carey Show") have conspired here to create a show completely free of ambition to be anything except a showcase for Charlie Sheen.
  113. Rob is a scream, and not in a good way.
  114. The most puzzling thing about Are You There, Chelsea? is who exactly thought it was a good idea. Because it's not.
  115. Unfortunately, beyond the strained concept, it has ridiculous dialogue and ludicrous situations that the best actors in the world couldn't salvage.
  116. In the early going, APB is as generic as its title, failing to give us characters or stories that feel remotely realistic.
  117. The Sharknado 3 team is clearly just making up the most ridiculous stuff possible at this point.
  118. Morris Chestnut is pretty, and so is Miami, but this show wastes them both.
  119. Phillip Winchester gets tangled up with Wesley Snipes in Las Vegas in a muddled scenario that involves predicting crimes and seeking vengeance.
  120. Its problem is too much Ken Jeong. His manic energy takes over every frame of the pilot, at the expense of anything and anyone else in the show.
  121. One of the new season's bigger disappointments. The frantic pace of this action drama, set behind the scenes in a casino security firm, can't disguise the shallow story-telling and annoying, badly developed characters. James Caan is wasted as the boss, and Josh Duhamel got much better stuff to work with on "All My Children." [22 Sept 2003, p.E6]
    • St. Louis Post-Dispatch
  122. Killing Jesus is apparently satisfied to look and sound vaguely cheesy.
  123. All the characters lie on the couch a lot. While it's noted that they do have jobs, they seem to spend most of their time eating Oreos and watching TV. (Hey, that's my life. . . .) And they talk, but most of what they have to say isn't very funny. [22 Sept 1994, p.6G]
    • St. Louis Post-Dispatch
  124. It's completely ridiculous.
  125. Relentlessly grimy and brutally violent, Outsiders is an exhausting trek through mountain muck.
  126. Moody and bloody, directed ridiculously by Melanie Aitkenhead, it's a reanimated corpse of a movie that nobody needed.
  127. The writing is cliched, the characters cartoonish and the action tedious, punctured by bloodshed.
  128. A cruel and stupid show built around one Matt Hicks, who vaguely resembles Britain's Prince Harry.
  129. If you're in the Sharknado fan club, you'll probably like the sequel. If not, you'll probably ignore it and watch something else. In either case, enjoy.
  130. The plotting is goofy, the tone is relentlessly dark and the pacing is excruciatingly slow. Worst, the characters are hard to care about.
  131. The plot is ridiculous, the writing is bad and Atwell seems embarrassed to be there.
  132. The script is assembled from cliches, some so hokey the actors seem to have trouble keeping straight faces. The plot rarely holds together, and the technology is more new age (a real-life "Vulcan mind meld"?) than cutting age. Worst of all, both Prew and Mulroney are horribly miscast, and neither is a satisfactory entry point into the drama.
  133. Save yourself. Run from Stalker.
  134. All this suggests a by-the-numbers romance novel, but some romance novels are involving, or fun, or lively. Not Mistresses.
  135. Jane Lynch is, to put it kindly, unbearable. (Trust me; that was putting it kindly.)
  136. Black people and white people can be best friends, and that's the truth. Apparently, however, that friendship can't be funny, or so Truth Be Told easily convinces us.
  137. Well, nothing much happens. Danny is a good excuse for a nap. [27 Sept 2001, p.F1]
    • St. Louis Post-Dispatch
  138. By the time the show ended, I disliked it a lot, but I kept an open mind. ... I watched it a second time. And a third time. I now believe I can praise Bochco and ABC for trying to do something different and, at the same time, say that "Cop Rock" is a bomb of major proportions. [17 Sep 1990, p.1D]
    • St. Louis Post-Dispatch
  139. Run! Run fast and far from We Are Men.
  140. Even more obnoxious, although that hardly seems possible, is NBC's Hidden Hills, a crude and unfunny comedy about suburban families. [24 Sept 2002, p.E8]
    • St. Louis Post-Dispatch
  141. This is, hands down, the worst series of the year, with the most annoying lead character in a season with many annoying lead characters.
  142. The worst of the new season's sitcom crop, Tucker is crude, unfunny and mean-spirited. The only appropriate response is an urge to call child services and have the young star taken into custody. [2 Oct 2000, p.F1]
    • St. Louis Post-Dispatch
  143. Dads is so unfunny that we have plenty of time to contemplate how distasteful the show really is.

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