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 2 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. The new season doesn't live up to the original, admittedly, but it's still far above imitators, including Fox's unnecessary remake, "Gracepoint."
  2. A very funny show. [8 Sep 1991]
    • St. Louis Post-Dispatch
  3. Braugher is such a riveting actor, with so much going on behind his eyes, that he'd probably be interesting reading a list of school closings on the first snow day. [10 Oct 2000, p.F1]
    • St. Louis Post-Dispatch
  4. In his quest to make Murder One - whose fans last season were passionate but few - more "user friendly," Bochco hasn't dumbed it down a bit. [10 Oct 1996, p.6G]
    • St. Louis Post-Dispatch
  5. The musical profited from great casting, with newcomer Shanice Williams (outstanding on all her solos) as Dorothy and a rich supporting ensemble including Stephanie Mills (Dorothy on Broadway) as Aunt Em.... The Wiz Live! (its script updated with humorous touches by Harvey Fierstein) seemed contemporary and relevant, a musical for a time when issues of race and diversity are at the forefront of our culture.
  6. A pleasant surprise. [30 Sep 1993]
    • St. Louis Post-Dispatch
  7. This is a comedy. And it’s a good one, warm and charming, genuinely funny, and also odd enough to come from Tina Fey and writing partner Robert Carlock.
    • 69 Metascore
    • 80 Critic Score
    Cleverly written by executive producer Richard Rosenstock, 'Flying Blind' displays an extraordinary amount of on-screen energy - verbal, physical and sexual - and isn't afraid to throw in an occasional obscure intellectual reference as well. [6 Sep 1992]
    • St. Louis Post-Dispatch
  8. "Without a Trace" offers sharp writing, stylish directing and a cast with real chemistry. [26 Sep 2002]
    • St. Louis Post-Dispatch
  9. 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
  10. Mob City is smart, stylish, sexy and altogether addictive.
  11. 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
  12. Once it relaxes, however, Scrubs turns out to be a thoughtful show that has dispensed with a laugh track and proves amusing enough not to need one. (Now, let's dispense with those fantasies.) Shot with a single camera in a former hospital, it aims for the exaggerated realism and the light-meets-dark tone of "M*A*S*H" -- a worthy ambition even if it doesn't get there. [2 Oct 2001, p.F1]
    • St. Louis Post-Dispatch
  13. Beyond the "yikes" factor, Nip/Tuck tells compelling stories about its troubled characters. [22 July 2003, p.E1]
    • St. Louis Post-Dispatch
  14. Britain's BBC2 and screenwriter Lucinda Coxon have captured the feverish tone and most fascinating storylines of Faber's book in a miniseries making its U.S. debut.
  15. Some UFO cliches - bright lights, mysterious marks, lost time - turn up here (could they be cliches because they're...true?), but intelligent writing and sharp plotting lift the series far above the standard for the genre. The lead characters have a quirky chemistry that (refreshingly) isn't built on the "squabble and kiss" standard. (They're both pretty appealing, however, and if they should eventually kiss, I for one wouldn't mind.) [9 Sept 1993, p.06G]
    • St. Louis Post-Dispatch
  16. I think 'I'll Fly Away' richly deserves the 'quality' label. That's not to say it has sprung full grown and perfect from the forehead of its creators. [7 Oct 1991]
    • St. Louis Post-Dispatch
  17. Only the darkness of the show is disconcerting. Poignancy is great, and presumably Clark will triumph in his battles against evil. But in post-Columbine, post-Sept. 11 America, humor has never been a more valuable commodity. If Smallville can strike the right balance, the series should fly. [16 Oct 2001, p.F1]
    • St. Louis Post-Dispatch
  18. One of the sweet surprises of the season, a family sitcom that manages to be realistic without being either silly or mean-spirited. It's funny, too. [12 Sep 1996]
    • St. Louis Post-Dispatch
  19. Together, they're TV's Cute and Quirky Couple of the Year. Speaking of cute and quirky - Dharma & Greg sometimes tries a little too hard to be both. But mainly, it's delightful. [24 Sept 1997, p.8E]
    • St. Louis Post-Dispatch
  20. 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
  21. A quirky mix of light and dark, humor and grit, sentiment and substance -- "The O.C." if scripted by Raymond Chandler. [21 Sept 2004, p.E1]
    • St. Louis Post-Dispatch
  22. It's just what TV viewers want in summer -- fun. [23 Jun 2005]
    • St. Louis Post-Dispatch
  23. Sometimes the action veers into melodrama, and some of its white characters feel cartoonish. The level of violence is sometimes hard to watch, especially in the first episode, and the language is very rough, if appropriately so. But the characters of the slaves are sharply drawn, the action riveting and the mood not always grim. Hodge and Smollett-Bell are magical together. All that makes Underground an important series that doesn't feel like medicine going down.
  24. Involving, enjoyable TV. [5 Oct 1999, p.D6]
    • St. Louis Post-Dispatch
  25. [An] ambitious, wildly energetic and mostly entertaining Grease: Live. Despite a few missteps, and even though, at three hours, the production seemed incredibly long, Grease: Live was above all a lot of fun.
  26. The mystery is wonderfully intriguing; the performances are excellent, especially from Maslany but also from Jordan Gavaris as her foster brother and best friend, Felix.
  27. Snowfall will feel like too much work for some viewers. But those who stick with it will be rewarded with a drama that’s both involving and important.
  28. With only a single episode available for preview, it's difficult to gauge what Esmail will do with that time and how much Slater (in the pilot, a goofy oddball) will alter the tone. But fans of smart thrillers, and tortured heroes, will want to stick around to find out.
  29. 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.

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