St. Louis Post-Dispatch's Scores

For 386 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average TV Show review score: 67
Highest review score: 100 Deadwood: Season 1
Lowest review score: 0 Black Box: Season 1
Score distribution:
  1. Mixed: 0 out of 265
  2. Negative: 0 out of 265
265 tv reviews
  1. Somebody tell the creators of shows like this, please, that viewers want engaging characters and entertaining, absorbing storytelling. We really don't need to be whooshing around in time while our heads spin.
  2. With the end in sight, this is a faster paced, more focused, less annoying Newsroom than in the first two seasons.
  3. Relentlessly grimy and brutally violent, Outsiders is an exhausting trek through mountain muck.
  4. 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
  5. Mob City is smart, stylish, sexy and altogether addictive.
  6. "Awws" are more frequent than laughs.
  7. A smart, well-written and absorbing psychological drama about the effects of a horrible crime on a close-knit small town.
  8. If people who grew up with the Muppets and consider them virtually sacred reject this new incarnation, that leaves casual fans--and kids. Is this a show for kids? Not really, but despite some mild talk about Muppet sex lives, there doesn't seem to be a real reason that children can't watch. Whether that audience can keep a much-ballyhooed but far from perfect new show afloat is unclear.
  9. After disliking the show initially, I've now seen the first three episodes, and I've come around. Despite its flaws, The Office is a smart, subversive change from most TV comedy. With so many trite and predictable -- and generally unfunny -- sitcoms around, one that's different deserves a chance. Or two or three. [24 Mar 2005, p.F8]
    • St. Louis Post-Dispatch
  10. 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.
  11. Its real appeal should be to viewers who like their TV history entertainingly out there.
  12. Different and complicated, The Slap feels like something viewers might flock to on cable or Netflix.
  13. The Following is as graphically violent, gruesomely gory and generally horrifying as anything on network TV and most anything on basic cable. But as crafted by Kevin Williamson, 'The Following' is also riveting.
  14. Season 2 of True Detective is as slow as molasses, and just as dark, in its first hours.
  15. 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.
  16. It's just what TV viewers want in summer -- fun. [23 Jun 2005]
    • St. Louis Post-Dispatch
  17. 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.
  18. By the time the episode wraps up with a good-vs.-evil clash, though, it's really rolling, with special effects that are both fun and scary. Doherty, Combs and Milano are appealing, and also believable as sisters, and T.W. King adds a down-to-earth touch as police detective Andy Trudeau, Prue's old boyfriend, who suspects that something is up. [7 Oct 1998, p.E6]
    • St. Louis Post-Dispatch
  19. 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.
  20. The comedy is all over the place in tone, bouncing from broad and silly to poignant and real to silly again.
  21. 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
  22. By the end of the first episode, who’s who and what’s what have begun to sort themselves out, and Turn looks like a series that will be absorbing to follow for its characters, not just its action.
  23. This is one of Dreyfuss' best recent performances, and he is sure to get many awards nominations for it. Danner is also fine, and the supporting cast is generally strong, even when not served by the script. After a meandering Night 1, Thursday's Night 2 cranks up and charges toward the outcome we expect.
  24. 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
  25. Childhood’s End is great looking, with impressive special effects. It’s also extremely slow, at least in the two hours previewed, and none of the characters is especially engaging.... But with just six hours (4.5 minus commercials) start to finish and dark clouds looming before Night 2, the miniseries could be just the antidote viewers need to counter Christmas sugar and spice.
  26. 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.
  27. 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.
  28. 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.
  29. Everything about this new summer show is confounding. Is it horror? Political satire? Slapstick comedy?
  30. Of the week’s new dramas, the only one with abundant blue skies is the lively Astronaut Wives Club.

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