St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,360 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% 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: 69
Highest review score: 100 Tetro
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1360 movie reviews
  1. A would-be light thriller that's so deficient in the genre's essentials - such as witty dialogue, intriguing characters and surprising yet credible plot turns - that you're embarrassed for everyone involved.
  2. Despite the oddly literate title, Vincent Wants to Sea never deviates from the predictable bonding-through-misadventure script, and it has little to teach us about the nature and treatment of the traveler's respective maladies.
    • 45 Metascore
    • 50 Critic Score
    Twilight fans who have followed the series will want to see "Breaking Dawn," and like Bella and Edward may find brief moments of pleasure.
  3. Weaver is a natural as the imperious Ramona, but the rest of the cast is flattened by the script, particularly White, who is just window-dressing in a movie that could use the rude humor she's displayed elsewhere.
  4. The kiddie audience will laugh a few times, but it would take an electron microscope to find an original idea or joke in this entire cartoonish movie.
  5. It's hard to love and hard to hate.
  6. If you’re interested in Williams and his music, this film is better than nothing — but not by much.
  7. Footloose poses as a bold update, but it's shockingly out of step with the times.
  8. In the end, audiences will be neither shaken nor stirred. Just bored and confused.
  9. Here, the scattershot spoofery never rings true.
  10. A Bigger Splash? More like a small trickle.
    • 62 Metascore
    • 50 Critic Score
    The problem with In Praise of Love is not that it seems to be possessed by a kind of free floating anti-Americanism. I'm not all that crazy about some of the things this country does, either, and I detest some of the big-budget movies Hollywood makes. The problem with "In Praise of Love" is that it never shuts up. [1 Nov 2002, p.E4]
    • St. Louis Post-Dispatch
  11. Fast Five represents Yankee ingenuity of the brutally stupid kind.
  12. Mostly "Hoodwinked Too" is playing to young video gamers, with overblown action sequences and slangy 'tude.
  13. People over 60 are as sexual and complicated as their grandchildren, and there ought to be more movies about them, but only an audience as constipated as these characters could mistake this lukewarm stream of pablum for a hard nugget of truth.
  14. After a nifty setup, In Time mostly fails to deliver as it gets lamer by the minute.
  15. Ultimately it's sunk by the hole in the middle: Paul Campbell (presidential aide Billy on "Battlestar Galactica") who substitutes smarm for charm as the archetypal player who gets played.
  16. To paraphrase a classic of Reagan-era cinema, A Good Day to Die Hard is a bad day to stop sniffing glue.
  17. Snark is not art. In the evolutionary spectrum of cinema, Natural Selection is like the duck-billed platypus, pretending to be warm-blooded but more than a little fowl.
    • 31 Metascore
    • 50 Critic Score
    Most. Depressing. Christmas. Movie. Ever.
  18. By design it’s monotonous, and with so much clunky hardware, Liman can’t generate the same pace he produced in the “Bourne” movies. Edge of Tomorrow has neither an edge nor a vision of tomorrow that matters today.
  19. It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
  20. RED
    Red is an insult to our memories and to our intelligence, an unfunny farce whose veteran cast is cashing a retirement check.
  21. Damsels in Distress is shockingly tone-deaf. Stillman is still capable of a few amusing quips, but his storytelling is sophomoric.
  22. So friction-free that it slips from memory before the credits fade.
  23. In my old New Jersey public school, the first thing we learned was the smell of baloney.
    • 70 Metascore
    • 50 Critic Score
    This undramatic and flat peek “inside” the sewing rooms of Christian Dior holds little in the way of entertainment.
  24. We need to have a dialogue about the wages of war in the remote-control era. But it’s hard to spark a good dialogue with movies whose dialogue is so bad.
  25. Proficient director Peter Berg ("Hancock") keeps the noise so deafening we can't think about how preposterous it all is.
  26. The comedy is so lame that the whole enterprise comes across as depressing.
  27. It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.
  28. The flashbacks, which get almost as much screen time as the present day story, are far more compelling.
    • 67 Metascore
    • 50 Critic Score
    Is briefly entertaining but shows mainly that sports films featuring women are no better than those featuring men. Much of the problem belongs to director Penny Marshall, who reaches for the cliche, and for the easy way out, each time the movie seems to be about to make a serious statement about women or about baseball. [3 July 1992, p.3G]
    • St. Louis Post-Dispatch
  29. There’s a good movie to be made about the alienating effects of modern technology. In 2013, a little-seen indie called “Disconnect,” starring Jason Bateman, came closer than this well-intentioned failure, which has virtually no heart, humor, sense of place or central point of view. In trying to be a big, important movie, Men, Women & Children is about none of the above.
  30. The way that Muppets Most Wanted grabs for the green is criminal.
  31. His (Eastwood) first boring film.
  32. The latest Hollywood version of the Godzilla story is neither fun nor fearsome. It’s an empty spectacle in which the humans are as meaningless as the monster.
  33. Technically proficient enough to keep us intrigued; but we shouldn't have to Google a movie to know if we were scared.
  34. Letters to Juliet has about half as much Shakespearean content as "Shakes the Clown" and even less sincerity.
    • 36 Metascore
    • 50 Critic Score
    Doesn't break any new ground, but it is a decent way to spend a girls' night out.
    • 65 Metascore
    • 50 Critic Score
    This time around, the story seems old and tired as well. The result is a routine space opera, an only moderately entertaining finale to a series that has had some great moments. [6 Dec. 1991, p.3D]
    • St. Louis Post-Dispatch
  35. What it lacks is the human element. Charlie is more of a rat than a rascal, and instead of working hard to build and operate his robots, he's literally going through the motions.
  36. This is the kind of film that makes moviegoers long for good, old-fashioned storytelling.
  37. Would have benefited from the kind of objectivity that Bass -- as Sar's well-heeled sponsor -- was hardly in a position to deliver.
  38. Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.
  39. On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.
  40. Despite the title, My One and Only is irritatingly repetitive.
  41. Initially, the puzzle structure and a pair of Oscar-winning actresses distract us from the dark vacuum at the center of this enterprise, but when it implodes, it doesn't reverberate.
  42. With such a thin excuse for a leading man, Arthur is a dud.
  43. Second verse, not as good as the first.
  44. Everything about Trouble With the Curve is as streamlined and hollow as a Wiffle Ball bat.
  45. Although it’s superficially grungy, this true story isn’t much more substantive than something that star Vanessa Hudgens might have made for the Disney Channel and considerably less shocking than her career gambit in “Spring Breakers.”
  46. Congratulations, visitor. You have been randomly selected to beta test an entertainment-software product called “The Internship 2.0.”
  47. War of the Buttons is handsomely crafted and it's touting tolerance, but as long as we open the gates to the Trojan horse of historical simplification, there's a danger that Hollywood could attack us with "The Goonies Go to the Gulag." Be vigilant!
  48. Falls into that middling ground of horror film: neither scary enough to be exciting nor campy enough to be amusing.
  49. Based on an acclaimed novel by Ron Rash, Serena is like a towering tale that’s been fed into a woodchipper.
  50. What might have seemed like a lively idea -- an all-star roundelay about love in Los Angeles -- is as fossilized as the wooly mammoths in the La Brea Tar Pits.
    • 58 Metascore
    • 50 Critic Score
    James Bond might as well be any of a dozen movie cops. For whatever reason, writers Michael G. Wilson and Richard Maibaum have given us a hero without the suavity, the urbanity, the sophistication of the James Bond who set these particular movies apart. And when Bond is just another hero, the result is just another action movie. It's sometimes exciting, but it misses all the lovely touches that previous films in the series have provided. [14 July 1989, p.3E]
    • St. Louis Post-Dispatch
  51. The only edge in the movie is represented by Russell Brand, who actually lived the lifestyle, but he's muzzled by a bad Liverpool accent and a gay subplot that's as insincere as the swaggering anthems by fatuous hacks like Foreigner, Starship and Journey.
  52. Pine and the always-watchable Banks make the best of a bad screenplay, but People Like Us gives us nothing that we can relate to.
  53. 30 Minutes or Less could have been a guilty pleasure, but the crusty caper is half baked.
  54. Although it's stuffed with subplots, gadgets and bad guys, this tinny contraption is half-hearted.
  55. If this movie wanders into your neighborhood, the only watch that will hold your attention is the timepiece on your wrist.
  56. The fatal flaw of this screenwriting term paper is that Cooper's character is a boring jerk we're supposed to regard as a nice guy who made an honest mistake.
  57. The documentary Live from New York is a separate thing. It doesn’t try to be wild and crazy, and it can’t be comprehensive. Like a land shark, it’s an uncomfortable hybrid that bites off more than it can chew.
  58. As usual for the comedies he produces, Sandler keeps pooping in the sandbox, and he expects the audience to give him a cookie for it. It’s a shame that he forces Barrymore to get soiled too.
  59. If you're a zombie purist or a fan of "The Walking Dead," Warm Bodies is not for you.
  60. Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.
  61. An inconsequential mess.
  62. Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.
  63. Mired in phoniness up to its neck. And above that, there's nothing.
  64. As a melodrama, Brothers is passable entertainment. But the film squanders the opportunity to meaningfully portray the impact of war on American lives.
  65. Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.
  66. While the cast is filled with award winners, writer-director Daniel Barnz is a dunce who can't construct an argument without employing flimsy logic and cardboard characters.
  67. As in the mindless Man on a Ledge, the hero is never really in danger, we're the ones who are trapped.
  68. In the end, the movie is still a poetic injustice.
  69. For his complex portrayal, Day-Lewis is likely to have roses thrown at his feet, but for the dreadful film in which he's enslaved, emancipated onlookers will reach for the grapes of wrath.
  70. Red 2 is not just a bad movie, it’s bad karma. And the target audience of adult moviegoers who respect the names in its once-vital cast have a bull’s-eye on their collective cranium.
  71. Laggies is the kind of indie film that gives the genre a bad name.
  72. There’s a sharp comedy to be made about America’s misadventures in Afghanistan. This isn’t it.
  73. The wrinkles between reality and illusion soon become irritating.
  74. Land Ho! is a tepid little movie that goes almost nowhere, and if I had to sit in that rental car for one more boob joke, I’d rather jump into a volcano.
  75. It requires a mild suspension of disbelief to accept that slacker David would suddenly intervene in so many lives, pretending to be a good Samaritan.
  76. Shakespeare’s play evokes the poetry of undying love, but this Romeo and Juliet is prosaic.
  77. Savvy filmgoers will know they are getting a stale product as soon as they see the wrapper: one of those vintage muscle cars that screams “stakeout.”
  78. A road-trip comedy that somehow renders both promiscuity and racism harmless. While we're soaking up the sunny surroundings, we're getting nowhere.
  79. Admission is one film you may not want to get into.
  80. Amid other wedding movies crowding screens these days, not to mention Perry's "Madea's Big Happy Family," Jumping the Broom feels instantly familiar. And tired.
  81. Its mean-spiritedness, stupidity and squandering of talent is uniquely Hollywood.
  82. In Couples Retreat, it's Favreau, not Vaughn, who is wound up, and this vacation comedy goes nowhere.
  83. There Be Dragons is tethered to the earth by a tangled plot, wooden acting and the heavy burden of healing old wounds.
  84. Don’t get burned by Inferno.
  85. This is a brutal and stupid movie.
    • 39 Metascore
    • 50 Critic Score
    The best indicator of whether you’ll like the film version of Diary of a Wimpy Kid: The Long Haul is whether you think flying vomit is funny.
  86. Whose story is this? There’s an old saying that history is written by the winners. The screenplay for The Hobbit: The Battle of the Five Armies must have been written by elves.
  87. In a small role as a self-absorbed film producer, Mark Wahlberg is touchingly effective.
  88. Extremely Loud and Incredibly Close is supposed to promote healing, but as they say in New York: close, but no cigar.
  89. An ambitious movie, but ultimately there’s too much “artificial” and not enough “intelligence.”
  90. Third Person doesn’t lack for ambition, and it’s nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.
  91. Austenland is as frustrating as a blind date with Almost Mr. Right. It’s impossible not to fixate on how close this was to being a lot of fun.

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