St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,102 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 6 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Pina
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1,102 movie reviews
  1. Although it doesn’t make a lick of sense as a stand-alone story, Mockingjay — Part 1 is the first “Hunger Games” movie with meat on its bones.
  2. The surprisingly rich documentary Best Worst Movie views the phenomenon from a unique perspective.
  3. Too short and undisciplined to be a world-class comedy, but its chutzpah deserves respect.
  4. It may not be original, but Adam could leave a lump in your throat.
  5. As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.
  6. Directed by and starring Mathieu Amalric, it’s a deceptively low-key riff on a Hitchcock whodunit. It’s both sexy and inscrutable, a cold-blooded puzzler to the very end.
  7. The kind of working-class, character-driven drama that few American directors would dare to make. It's tough and unsentimental, with a documentary aesthetic that belies the craft of the calibrated tension.
  8. What makes Love Is Strange so special is that the challenges the couple face are more mundane than menacing.
  9. Most biographical docs contain a montage of old footage, but this one is especially haunting. As Campbell watches home movies, he has to ask Kim to identify the people on screen, including his ex-wives, his children and his younger self.
  10. The beauty of October Country, beside its artful images, is how it compresses the windblown fortunes of working-class America into the fallen leaves of one forlorn family.
  11. Europeans have a taste for both the mechanics of trickery and the machinations of power, and the politically astute Spanish film "Even the Rain" belongs in the same conversation with Francois Truffaut's "Day for Night" and Pedro Almodovar's "Bad Education."
  12. Annie is not a great movie musical — but it’s a fun time at the movies.
  13. While the wilderness vistas are starkly beautiful, there’s no tangible sense of Strayed’s ultimate goal. (Why Oregon?) And the flashbacks, which include scenes of sexual misadventure and heroin use, are too brief to provide answers.
  14. Most of the credit for this successful effort goes to Miller, who simply pointed a camera at Levitch for hours and stayed out of the way. This laid-back direction helps Miller avoid that self-conscious "documentary" seriousness, edgy shots and editing that tells the audience that this is all so very important. [18 Dec 1998, p.E3]
    • St. Louis Post-Dispatch
  15. Because VanDyke wasn’t embedded with the American media, Point and Shoot has some priceless front-line footage, including a chilling scene where he must decide if he’s willing to kill for someone else’s cause. But without a rigorous editor, it’s “How I Spent My Summer Vacation.”
  16. Mostly the movie is about process and perspective. Through the documentary lens, Richter's enigmatic paintings speak to us.
  17. In a movie of murky surfaces and deep loneliness, the redemptive surprise of A Single Man is how it becomes a clear endorsement of the Buddy System.
  18. This jam-packed picture is too zippily scripted and edited to get stuck in message mode, yet the stellar cast achieves a rare harmonic convergence.
  19. We are reminded: War is hell. But at their best, war movies can be cool and beautiful.
  20. Ice-T delivers a love letter to hip-hop with Something from Nothing: The Art of Rap.
  21. Although the film has elements of a puzzler by Michelangelo Antonioni and a psychodrama by Ingmar Bergman, it never becomes compellingly intellectual or unnervingly emotional.
  22. The larger-than-life actor is as emblematic of his country as Tom Hanks is of ours, and My Afternoons With Margueritte is his "Forrest Gump." Only better.
  23. Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.
  24. Cunningham's answers to pointed questions about romantic love and religious faith are so open-hearted, we understand that he's bigger than just New York.
  25. The real stars here are Scott's behind-the-curtain crew, who fill every frame with tech-savvy details and take the sets to another dimension with immersive 3-D imagery.
  26. Given the turbulent water of world affairs and sea changes in the media, a follow-up a year from now might be titled "Gray Lady Down" if the Times does not chart a new course.
  27. As popcorn entertainment, it's right on schedule.
  28. It's faint praise to say that this is the best of the "Planet of the Apes" movies, because the evolution of special effects and makeup was predictable. But the unexpected strength of the film is its heart.
    • 41 Metascore
    • 75 Critic Score
    A splendid murder mystery, but one with as much gore and steamy sex as I've seen in a long time. [20 Mar 1992, p.3F]
    • St. Louis Post-Dispatch
  29. Bana ("Munich") makes an effective bad guy. Hunnam portrays Jay as a hero worth rooting for. And Wilde turns in a nuanced performance as a woman in conflict with herself.

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