St. Louis Post-Dispatch's Scores

  • Movies
  • TV
For 1,847 reviews, this publication has graded:
  • 66% higher than the average critic
  • 2% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Asteroid City
Lowest review score: 0 The Divergent Series: Insurgent
Score distribution:
1847 movie reviews
  1. The conclusion of Christopher Nolan's superhero trilogy is a hugely ambitious mix of eye candy and brain food. If it doesn't have the haunting aftertaste of the previous serving, that's only because Nolan couldn't clone Heath Ledger. But beefy substitute Tom Hardy is a hell of a villain.
  2. 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.
  3. With this unfunny fourth installment, the "Ice Age" franchise has skidded so far into kiddie land that adults who tread there risk extinction.
  4. As memorable as it is insightful, Take This Waltz is one of the best films of the year.
  5. Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.
  6. At the confluence of altered states and state-sanctioned violence, this drug-fueled thriller is Stone's most successfully provocative picture since "JFK."
  7. The film is constructed from four flimsy vignettes that are artlessly overlapped.
  8. Perry manages to pull it off here, coming off completely likable and real, never insufferable and fake.
  9. Not just a reboot - it's a rejuvenation. From the first image of sensory awakening to the final acceptance of adult responsibility, it pulses with the warm blood of a very human hero.
  10. Although there's a skeletal story, A Cat in Paris evokes a mood instead of a moral. Like a cat nap, it gives us a brief, refreshing dream with little to remember.
  11. This is a smart, moving film that's also very, very funny.
  12. Ted
    Ted does not only break before it ends. It snaps back so violently that it very well may knock out of your mind any recollection that the movie is fairly entertaining for about 30 minutes.
  13. 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.
  14. It's guilty of some sleight-of-hand hokum, but in pulling the rug from under the norm, Magic Mike turns a trick.
  15. Like a train, I Wish is slow to build momentum, then it carries us away in a wondrous rush.
  16. With elements of a musical, a melodrama and a multicultural romance, Where Do We Go Now? is as hard to define as the crossroads region where it's set. But even without a clear signal, it sometimes seems miraculous.
  17. Eccentric enough to get mistaken for an uplifting fantasy, but it's Plaza who belongs in the penthouse.
  18. If the world were really coming to an end, we'd spend it with Knightley and tell her tag-along friend that there's not enough food for a 50-year-old virgin.
  19. Just misses living up to its name.
  20. A blast, the best action movie of the summer.
  21. Like "Gone, Baby, Gone," the French film Polisse succeeds by shifting the focus from the victims to the vigilant protectors.
  22. Ice-T delivers a love letter to hip-hop with Something from Nothing: The Art of Rap.
  23. Mostly the movie is about process and perspective. Through the documentary lens, Richter's enigmatic paintings speak to us.
  24. In matters of personal taste, there is no right or wrong, so if erasing brain cells is your idea of a good time, That's My Boy could be your cup of turpentine.
  25. 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.
  26. The best film of the year and perhaps the purest love story in cinematic history.
  27. As a sex-education comedy, Hysteria is flaccid, forced and unfunny.
  28. Surviving Progress reiterates arguments made in movies such as "An Inconvenient Truth" and "Inside Job," it marshals minds such as Jane Goodall and Stephen Hawking, and it utilizes artful imagery reminiscent of films such as "Koyaanisqatsi" and "Up the Yangtze."
  29. 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.
  30. Denham impressively captures Peter's flintiness, rendering him sympathetic yet not quite likable, and Vicius is just right as the wary Lorna.

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