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 Fruitvale Station
Lowest review score: 25 Alex Cross
Score distribution:
1,021 movie reviews
  1. After we hear the hit parade that poured from rural Alabama and meet the men who led it to the top of the charts, we realize that Muscle Shoals could call itself Hitsville, USA.
  2. It's an original that plays as if it were based on a novel.
  3. Bernie could easily have gone horribly wrong. But Black and Linklater finesse this tricky material with as much virtuosity as Bernie brings to that broccoli.
  4. Kristen Wiig is the best sketch comic alive, and Bridesmaids should finally make her a movie star.
  5. The troupe's first film in more than a decade, is a more aggressively absurd antidote to what it calls "a hard, cynical world." Happily, it works.
  6. An evolutionary leap forward, a visually exquisite film that doesn't ignore the truths of pollution and predatory survival.
  7. The ingredients are in place for a potent finale, but “Catching Fire” is watered down.
  8. The most exhilarating film of the year is also the most exhausting.
  9. Co-directors Andrew Droz Palermo and Tracy Droz Tragos let the painful stories emerge naturally, without prodding questions or talking-head experts who place the boys’ grim lives in the larger context of the post-industrial economy.
  10. The macabre comedic undertones are reminiscent of a Coen brothers film like "Blood Simple." But a more apt comparison is to an obscure Canadian bank-heist flick called "The Silent Partner," in which teller Elliot Gould pockets some loot from thief Christopher Plummer. Both movies imitate an American idiom with a provincial accent.
  11. Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.
  12. 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.
  13. This deadpan police story produces unexpected chills.
  14. 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.
  15. There are three sides to most love stories: his, hers and the truth. But on London's Fleet Street, the three sides are his, hers and the tabloids'.
  16. While the big-headed, spindly puppets don't evoke enough emotion to make the movie a must-see, Burton's 3-D design team pours its heart into the monochrome surroundings, from the suburban décor to Victor's laboratory to the carnival midway.
  17. How could you not marvel at a movie that includes a revisionist explanation of the JFK assassination, a football stadium floating over the White House and the sight of Richard Nixon firing a .45 at a villain in a Christ-figure pose?
  18. Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.
  19. 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.
  20. One part personal mystery and one part art-appreciation class.
  21. Although Tomboy is as tightly constructed as a short story and as seemingly straightforward as a documentary, the parable about a small fib that grows out of control is so rooted in the rich soil of sexual identity that it entangles us.
  22. When the smoke clears, heady Farewell stands tall among the movies that view the Cold War at close range.
  23. Bully is a good start to a necessary conversation, but its loving voice is likely to be drowned out by haters who hide their own wounded hearts behind Internet pseudonyms and broadcast microphones.
  24. This film might easily have settled for mocking religion. Instead, it's a fascinating glimpse into a culture that forces some people to choose between fitting in and opting out.
  25. For all its professionalism, I found it as cold as the ice rink at Rockefeller Center.
  26. The first half of the film dusts off some kitschy picket-fence footage and alarmist news reports to invoke an era when homosexual acts were illegal in 49 states, and gays were subjected to arrest, electroshock and sterilization.
  27. Because of some sentimental backspin, Affleck doesn't quite hit it out of the park, but he may provoke the green monster of envy in lesser directors.
  28. With his actors and crew hewing to the script, the director’s craft is impeccable. His low-light images are suitable for framing, and there’s scarcely a moment of modernity, let alone humor or loose ends, to disrupt the tragic trajectory.
  29. Like the recent "Greenberg," Cyrus is not the jokey, polished production you would expect from its Hollywood cast and LA setting, but audiences who are comfortable with discomfort should find it "funny."
  30. While it may not be a smorgasbord of red herrings and red meat, Flame and Citron is often chilling.

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