St. Louis Post-Dispatch's Scores

For 464 reviews, this publication has graded:
  • 62% higher than the average critic
  • 3% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1.9 points higher than other critics. (0-100 point scale)
Average TV Show review score: 68
Highest review score: 100 The Amazing Race: Season 1
Lowest review score: 0 Black Box: Season 1
Score distribution:
  1. Mixed: 0 out of 324
  2. Negative: 0 out of 324
324 tv reviews
  1. It's too silly for real horror fans and too gross for the fainthearted.
  2. 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.
  3. This new Time After Time, charming and engaging, does the very best thing it could do: It respects (and doesn’t ruin) the movie.
  4. 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
  5. In the early going, the series works best as sort of a modern-day “Mission: Impossible,” and could actually use more of that show’s caper elements.
  6. 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
  7. What Chasing Life mainly raises, though, is eyebrows, for being so laughably bad.
  8. The murky and unnecessary string of overwrought mysteries makes it sadly skippable.
  9. The format is ambitious, and if some parts don’t entirely work, there’s still a lot to like and learn in Mars.
  10. Many jokes are barely smile-worthy, and the show still feels broad and sitcom-y, despite its single-camera format. Sometimes, Lopez seems to be recycling lines from his stand-up act. But it's another step forward for TV Land.
  11. A single-camera comedy with no laugh track, Weird Loners is a pleasant enough viewing experience.
  12. We've seen that countless times. But Sunjata and Tveit are both appealing, and the rest of the cast is colorfully eclectic, including Vanessa Ferlito as Charlie, a DEA agent undercover as a druggie.
  13. After its overwrought pilot, Doubt could settle into being a perfectly watchable show for fans of the genre. The jury, however, remains out.
  14. Action is nicely balanced with sense of humor, and characters (most of whom have been seen in other contexts, including "Arrow" and "The Flash") are developed well from the beginning.
  15. The CW's attempt to capture the magic of "Sex and the City" in a prequel, set in 1984, could have gone very wrong. But The Carrie Diaries is surprisingly right.
  16. Red Band Society, although sometimes sappy, isn't sad or dreary.
  17. Extreme, yes. But that's what makes it an experiment we might want to watch.
  18. 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.
  19. 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.
  20. Defiance wants to be that crossover science-fiction show that appeals both to true believers and general audiences. If "Terra Nova," which aimed for that same ground, didn't succeed, I can't see "Defiance" doing it either.
  21. Limitless isn't bad, but it's not mind-expanding.
  22. Frankly, based on two episodes, Game of Silence doesn't seem to be worth the effort required to sort out its twisted plotting. However, it's clearly the kind of show that could suck in viewers who enjoy trying to solve a TV mystery, the more twisted the better.
  23. If this sounds merely soapy, know that by the third hour, the English are executing rebels via firing squad, shops are being looted, innocent urchins are shot down and battle lines have been drawn between lovers and families.
  24. The pace is generally fast enough to distract from the convoluted plot.
  25. Even for MTV’s young target audience, the characters in Scream are remarkably empty and bland. But this is a slasher show, after all.
  26. Catfish: The TV Show is riveting entertainment, but it's also potentially the most important series MTV has aired.
  27. To see its potential, you'll have to grit your teeth through a lot of painful moments early on.
  28. It's a refreshing change, though, to see competitions based on mental achievement and eliminations based on merit, not whim. [8 Jan 2004]
    • St. Louis Post-Dispatch
  29. There are nice moments, especially from Holloway, whose quips are vastly more clever than the rest of the show.
  30. Jane Lynch is, to put it kindly, unbearable. (Trust me; that was putting it kindly.)
  31. The characters are well-enough developed in the early going.... As the story deepens, though, it also becomes so complicated that it threatens to squeeze out marginal fans of the genre.
  32. “I am confused about everything,” Peter tells his girlfriend before fleeing the scene of a bully smackdown. Sampling The Messengers, you may be too.
  33. 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.
  34. [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.
  35. 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
  36. The complex story, which includes a flashback to 10 months earlier, plus scenes with O’Mara’s therapist and memories of his child’s illness, finds the hero getting in deeper and deeper after impulsively trying to save a life.
  37. Loud and silly as it is, the show also manages to create and define its characters skillfully.
  38. The cases often seem more obvious than intriguing; the emotions feel forced; much of the dialogue is trite. The cast is unusually diverse, and that's worthy of high praise.
  39. Unfortunately, this Dracula isn’t fun at all. It’s not really scary, either, although it does spill a lot of blood.
  40. 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.
  41. Except for its familiarity, not necessarily a liability in TV comedy, there's nothing wrong with Marlon except its dated joke-punchline structure, deafening audience laughter and the tendency of the cast to shout all the dialogue.
  42. 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.
  43. 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.
  44. Thigpen is terrific as Ella, and she and Nelson have immediate buddy-buddy chemistry. The District could be just the ticket for Saturday night stay-at-homes looking for something upbeat, but be forewarned that the show tunes and peppy speeches are interspersed with bursts of violence so extreme as to make "Walker, Texas Ranger" look like "Sabrina, the Teenage Witch." [6 Oct 2000, p.D7]
    • St. Louis Post-Dispatch
  45. Derivative? True fans of the genre are likely to think so, but that familarity makes the entry point into Badlands easier for the average viewer. So does a beautiful, ballet-like opening fight scene in which Sunny gracefully takes out a horde of enemies not nearly so well-dressed as he is.
  46. The first episode of Tyrant, the only one I've seen, is both exotic (the cultural elements surrounding the wedding are fascinating) and unfortunately trite, to the point of embracing stereotypes about the Middle East that some early viewers have found offensive.
  47. Nobody will watch Common Law to watch crimes being solved. But viewers may be engaged by the characters and their chemistry, and that's what USA is counting on.
  48. Always messy, often rude, sometimes poignant and frequently annoying, Popular is - come to think of it - a lot like teen-agers themselves. And that just could make it the most authentic high school series of the year. [28 Sept 1999, p.D6]
    • St. Louis Post-Dispatch
  49. Making sense of this mess is probably impossible (either my screener was missing scenes or the plot makes a big and confusing jump in the middle of the premiere) and not worth the effort. Unless, that is, you love seeing bad people get their faces eaten off, or you really, really miss "Under the Dome."
  50. Lighthearted lessons are learned all around. It's all very sweet. [20 Sept 1996, p.10E]
    • St. Louis Post-Dispatch
  51. Moments of sweetness, but too few laughs - and way too many sexual references. [8 Sep 2002]
    • St. Louis Post-Dispatch
  52. The Sharknado 3 team is clearly just making up the most ridiculous stuff possible at this point.
  53. 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
  54. Action and the beginning of character development are both good signs.
  55. 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.
  56. Killing Jesus is apparently satisfied to look and sound vaguely cheesy.
  57. The judges seem well chosen. Unfortunately, The Taste kicks off with a bland and sluggish two-hour casting session.
  58. Relax and go with the goofiness and you could have a good time. [9 Jan 1996]
    • St. Louis Post-Dispatch
  59. Deception isn't like super-soapy "Scandal" or over-the-top "Revenge" (which has gone seriously downhill this season) in that both the story telling and the acting seem more realistic.
  60. 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
  61. People who like procedurals will enjoy playing along. But the real charm of the series--as in a lot of cable originals--is in its ensemble.
  62. As Flesh and Bone unfolds, though, the story gets darker and more warped, not just for self-destructive Claire but also for the rest of the troupe.... All [of] this is frequently hard to watch, but also impossibly addictive.
  63. 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.
  64. The Job, with Lisa Ling as host, is taped in front of a live audience, which keeps it from being too downbeat. The interviewers are honest but encouraging, and even those who are eliminated are told precisely why and given advice about other opportunities.
  65. “Ballers” and “The Brink,” have their moments, neither provides a lot of laughs.
  66. Science-fiction meets crime-solving buddy drama in an extension of the 2002 movie.
  67. It's kind of charming, and sporadically funny, but nothing special. [23 Sept 1993, p.8G]
    • St. Louis Post-Dispatch
  68. 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.
  69. Viewers may be attracted to Backstrom because of its charming supporting players as much as its abrasive hero. The whole thing grew on me in the course of three episodes provided for preview.
  70. 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
  71. 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.
  72. 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.
  73. In the end, even if you've seen if before, Ring of Fire is a better than average Lifetime movie that will leave viewers hand-clapping, singing along and maybe sniffling a little.
  74. 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.
  75. The Great Indoors would benefit from better writing, of course.
  76. 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.
  77. 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.
  78. 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
  79. The tone is mostly dreary and the plot with few exceptions goes precisely where you expect.
  80. 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.
  81. 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.
  82. It will undoubtedly seem tame to staunch "True Blood" fans. But a few winks of humor and some good scares make Midnight, Texas more than you'd expect from a summer series on broadcast TV.
  83. Saving Hope is pretty easy to watch, despite its abundant potential for eye-rolling.
  84. 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.
  85. It does what it sets out to do: that is, adapt the book faithfully and still make an entertaining film.
  86. These days, it’s hard to be too certain about anything, but 24 is reassuringly still the series it always has been.
  87. It breaks absolutely no new ground, but it's lively, fast-paced and enjoyable enough, if you like this sort of thing.
  88. 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.
  89. Lucifer is the most accessible [of the twoshows--the other being Syfy's "The Magicians"], mostly because it feels as if we've already seen it before. And we have, one way or another; "Lucifer" feels a bit as if Syfy's fallen-angel drama "Dominion" mated with ABC's "Castle."
  90. An occasionally funny new TV Land comedy.
  91. 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
  92. 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.
  93. Family Matters has assembled one of the most broadly appealing casts seen in recent years. Reginald VelJohnson, who played the sympathetic cop in the movie "Die Hard," is almost irresistible as a character. And yet the show's concept is so familiar that Family Matters will have to struggle to be fresh, to avoid going over old ground, to give its characters texture and definition. The potential for some excellent comedy is certainly here. [18 Sept 1989, p.1D]
    • St. Louis Post-Dispatch
  94. The audience is expected somehow to understand the range of her abilities, but sorry; we need more clues. That, and a reason to care.
  95. If you enjoy animal sight gags, Animal Practice will provide at least a few laughs.
  96. Adapted from a Dutch series that was surely better than this, Red Widow is trite and tedious.
  97. Young & Hungry is nicely paced, and even in the first episode, the humor is character-driven. It's as uncomplicated, and tasty, as a good grilled cheese.
  98. The writing is clunky, Phillippe is stiff and Lewis overacts like a cop in some parody of cop shows.
  99. [The cast] throw themselves into Kirstie wholeheartedly, but it's hard not to feel that they're slumming.
  100. Beautiful but dull, at least in the early going.
  101. The short run makes the new incarnation of Prison Break action-packed, with just enough down time for the characters to ponder what’s happening to them.
  102. When Thandie Newton is on screen in Rogue, it's tough to look away.... Other than Newton, though, Rogue is a disappointment in the early going, more tedious than thrilling.
  103. It’s best simply to sit back and go with it.
  104. The plotting is goofy, the tone is relentlessly dark and the pacing is excruciatingly slow. Worst, the characters are hard to care about.
  105. Thanks to the clever writing and a very appealing performance by Gummer, this is one of my favorites of the fall season.
  106. But Schwimmer does his best TV work yet in Feed the Beast, breaking viewers’ hearts just as Tommy’s has been broken. His pain reaches out and grabs us, and we root for him to find a way to go on.
  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. Moody and bloody, directed ridiculously by Melanie Aitkenhead, it's a reanimated corpse of a movie that nobody needed.
  109. 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.
  110. The Dovekeepers is beautifully written and acted, without a whiff of the hokey melodrama so unfortunately common in period pieces, especially those with biblical themes.
  111. 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.
  112. In the early going, APB is as generic as its title, failing to give us characters or stories that feel remotely realistic.
  113. The plot is ridiculous, the writing is bad and Atwell seems embarrassed to be there.
  114. 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.
  115. The dialogue Arquette is forced to deliver is the worst thing.
  116. They are quirky--cookie-cutter quirky. But for summer TV drama, that's not the worst they could be.
  117. This is, hands down, the worst series of the year, with the most annoying lead character in a season with many annoying lead characters.
  118. There are smiles, but also cringes. Cyrus is terrible, and even May can't do much with this. Allen is Allen.
  119. Every single thing about Crowded feels familiar, as if we've seen it many times, which we have.
  120. 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.
  121. Phillip Winchester gets tangled up with Wesley Snipes in Las Vegas in a muddled scenario that involves predicting crimes and seeking vengeance.
  122. 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.
  123. 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.
  124. Well, nothing much happens. Danny is a good excuse for a nap. [27 Sept 2001, p.F1]
    • St. Louis Post-Dispatch
  125. Unfortunately, beyond the strained concept, it has ridiculous dialogue and ludicrous situations that the best actors in the world couldn't salvage.
  126. This Odd Couple, starring Matthew Perry as messy Oscar Madison and Thomas Lennon as fastidious Felix Unger, just feels forced, tired and not funny enough.
  127. 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.
  128. 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.
  129. All this suggests a by-the-numbers romance novel, but some romance novels are involving, or fun, or lively. Not Mistresses.
  130. 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.
  131. 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.
  132. The first episode does explain the premise pretty clearly--if you pay close enough attention and aren't laughing too hard.
  133. Uneven, from amusing to embarrassing. [8 Oct 2000, p.F6]
    • St. Louis Post-Dispatch
  134. 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."
  135. It's not terrible, just standard-issue sitcom, with relationships that don't feel true and laughs that seem forced.
  136. Relaxed as he seems on stage, he's just that stiff when acting. And that, unfortunately, is most of the time.
  137. Do No Harm expects us to accept the dual-personality premise without grounding it in anything believable.
  138. Morris Chestnut is pretty, and so is Miami, but this show wastes them both.
  139. It's completely ridiculous.
  140. Uncle Buck needs to be smarter, funnier, and, honestly, a different show. Epps too deserves better.
  141. One Big Happy isn't fresh or funny enough to transcend its message.
  142. Unfortunately, the premiere is more depressing than scary, often feeling as if we're being sucked slowly into quicksand.
  143. The most puzzling thing about Are You There, Chelsea? is who exactly thought it was a good idea. Because it's not.
  144. There's a plot, which any of us could have written in our sleep.
  145. Bad and dark and confusing things ensue, but the human characters are so completely unengaging.
  146. Run! Run fast and far from We Are Men.
  147. The writing is cliched, the characters cartoonish and the action tedious, punctured by bloodshed.
  148. It's ridiculous, but it doesn't bite.
  149. 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
  150. 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
  151. Rob is a scream, and not in a good way.
  152. 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.
  153. 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.
  154. 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
  155. A cruel and stupid show built around one Matt Hicks, who vaguely resembles Britain's Prince Harry.
  156. Save yourself. Run from Stalker.
  157. Dads is so unfunny that we have plenty of time to contemplate how distasteful the show really is.
  158. 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.
  159. Parks and Recreation is a rare gem--a TV comedy that's sweet, good-hearted and even inspirational, but also completely hilarious.
  160. I'm not sure the mild-mannered but eternally stressed Blais and the big-ego Vigneron were the best choices for the premiere, though. The whole affair is a tiny bit bland.
  161. Grantchester always goes down as easily as a cup of sweet and milky tea.
  162. Cases amusing or deeply tragic immediately test both her medical skills and her knowledge of Indian local culture, both lacking. But as trite as it might seem in outline, The Good Karma Hospital won me over quickly, and I flew through all six episodes in an evening. Acharia, whom "Game of Thrones" fans probably won't recognize as Dothraki handmaid Irri ("It is known"), is both charming and completely believable.

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