St. Louis Post-Dispatch's Scores

  • Movies
For 938 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 6.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Moonrise Kingdom
Lowest review score: 25 Endless Love
Score distribution:
  1. Negative: 67 out of 938
938 movie reviews
  1. The libido and bloodlust flowing from the pint-size Page is the funniest thing in the movie, but elsewhere, the mix of the goofy and ghastly is hard to digest.
  2. This melodrama about spousal abuse and honor killings might be too grim to bear, but Kekilli keeps it centered.
  3. Don't be late to this homecoming of director Wes Craven and writer Kevin Williamson's horror series, which begins with a twisty opening sequence that's bloody fun.
  4. Although the choice of interviewees skews the movie in a New Age-y direction, there's less pseudoscience and more heart than in the kindred documentary "What the Bleep Do We Know?"
  5. It's got a grown-up artfulness, but Winter in Wartime could become a lot of boys' favorite movie.
  6. Although it starts slowly, the accumulated tension and thematic resonance leaves us breathless.
  7. Superbly acted, and a return to form for Tavernier, who guided jazz legend Dexter Gordon to an Oscar nomination for "'Round Midnight" (1986).
  8. The simmering rivalry between Di and Fiamma, inflamed by the kind of glimpsed indiscretion that makes adolescent melodramas tick, explodes in a thriller ending that turns an observant coming-of-age story into something resembling "The Lord of the Flies."
  9. The Beaver isn't a perfect film, but it's challenging and original.
  10. Although there are gentle detour discussions about advertising in classrooms and school buses, Spurlock's ironic approach can't convince us that ads are toxic. Indeed, when he visits sprawling Sao Paolo, Brazil, where all outdoor advertising has been banned, it seems as sterile as Stalingrad.
  11. This well-executed sequel is sneaky. While it distracts us with Chinese backdrops and buffoonish humor, it sucker punches us with a message about belonging.
  12. Such a disarming homage to the cinema of the Reagan era that even grouchy gremlins might feel like it's morning in America. But be forewarned that if this movie is exposed to sunlight, you'll notice the puppet strings.
  13. A fanciful French cousin to Allen's "Zelig" and "The Purple Rose of Cairo," yet the fulfilled wish for a better life is high-concept absurdity without high-anxiety guffaws.
  14. Brazenly funny in its own right - until it turns into a goody two-shoes.
  15. It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.
  16. 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.
  17. As a critic who complains about painless and brainless action movies, I hoist a glass of mead to the men and maidens of Ironclad.
  18. If you require a plot, look elsewhere.
  19. Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.
  20. 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.
  21. 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'.
  22. Despite accusations of nearly succumbing to spotlighting beefs over beats, the film comes off as an honest representation of a great group that's not to be forgotten.
  23. In such a bleak story, the redemptive ending seems rushed and unconvincing, but director Oliver Schmitz has sent us a timely dispatch from a forgotten corner of the world that is honest above all.
  24. It honors the original throughout, including a memorable nightclub scene and a surprise cameo that's a huge crowd-pleaser, while at the same time giving updates to make it fresher and better than ever.
  25. Like its neo-noir kin across the pond, The Guard is violent, profane and funny. But McDonagh is interested in more than mockery.
  26. Neither as magic nor as trippy as the culture quake that it documents, but it's a valuable flashback and a pleasurable contact high.
  27. The Debt eventually settles into a predictable groove that slightly undercuts its impact. Still, it's a film of ambition and substance.
  28. The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.
  29. Doesn't rise to classic status, but it's an intriguing mood piece.
  30. As Refn is riffing on thriller cliches, he gets solid support from the ensemble. Brooks, a comedic standout since the '70s, makes a sympathetic villain, and Gosling stokes the young-Brando comparisons - instead of settling for Richard Gere.

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