Andrew Wyatt

Andrew Wyatt
Tomatometer-approved critic
Biography:
Andrew Wyatt lives in St. Louis, Missouri, where he has been writing about cinema, television, video art, and culture since 2007. Andrew is the lead film critic for The Lens, the official blog of Cinema St. Louis. He was previously the lead film critic for St. Louis Magazine from 2010 to 2017. He has also been a contributor to Alive Magazine, The Common Reader, The Curator, and Temporary Art Review. For his work at St. Louis Magazine, he was named a finalist in the Blog Writing category of the 2014 Great Plains Journalism Awards. He is a member of the Online Film Critics Society and the St. Louis Film Critics Association, and serves as the webmaster for the latter organization. He has served as a juror and presenter for the St. Louis International Film Festival, the St. Louis Filmmakers Showcase, the Robert Classic French Film Festival, and the CinemaSpoke screenplay competition.

Movie Reviews Only

T-Meter Title | Year
B+ 89% The Green Knight (2021) The Green Knight invites the viewer to lose their way in a truly unfamiliar world, and thereby learn something of themselves. - The Lens EDIT
Read More | Posted Jul 28, 2021
A- 97% Pig (2021) The Tokyo Story of pig movies. - The Lens EDIT
Read More | Posted Jul 16, 2021
C+ 86% Dachra (2021) Many of the plot contrivances make Dachra feel like a parody of an American horror feature, albeit one played completely straight. - The Lens EDIT
Read More | Posted Jul 8, 2021
B- 86% Werewolves Within (2021) Slight and broad, but also infectiously fun. - The Lens EDIT
Read More | Posted Jun 30, 2021
C+ 47% False Positive (2021) False Positive seems incapable of resolving the dissonance between its intimations of occult conspiracy, its more surreal horror elements, and its sordid but comparatively banal plot. - The Lens EDIT
Read More | Posted Jun 30, 2021
C- 69% An Unquiet Grave (2020) Key's direction, while atmospheric, is frustratingly aimless, and his indulgence only ends up highlighting the script's weaker bits. - The Lens EDIT
Read More | Posted Jun 30, 2021
B- 88% Censor (2021) Censor appreciates the transgressive scuzzines of the 'Video Nasties' while also conceding that a steady diet of in-your-face VHS depravity is not healthy for the human mind. - The Lens EDIT
Read More | Posted Jun 30, 2021
C+ 82% Caveat (2020) Mc Carthy has a natural showman's facility with shivery jump scares, which helps paper over the story's lumpier bits. - The Lens EDIT
Read More | Posted Jun 30, 2021
C+ 80% Gaia (2021) The undercooked quality to Gaia's character drama is symptomatic of a film that prefers to fuss over the artfulness of its presentation rather than worry about story. - The Lens EDIT
Read More | Posted Jun 22, 2021
B- 90% Les nôtres (2021) Leblanc's direction is so skillful and compelling, the after-school messaging hardly seems to matter. - The Lens EDIT
Read More | Posted Jun 17, 2021
B- 96% The Amusement Park (2019) The Amusement Park further solidifies George A. Romero's legacy as one of America's most original, ingenious, and unjustly stymied auteurs. - The Lens EDIT
Read More | Posted Jun 7, 2021
C- 46% Seance (2021) There's a tedious reliance on high-school horror cliches that were already stale in the early aughts. - The Lens EDIT
Read More | Posted Jun 3, 2021
B 88% Oxygen (2021) One of Netflix's juiciest one-off thrillers. - The Lens EDIT
Read More | Posted Jun 3, 2021
C+ 79% Fried Barry (2020) When the film enthusiastically embraces its cult-flick weirdness and grindhouse nastiness, it's at least repulsively watchable. - The Lens EDIT
Read More | Posted Jun 3, 2021
C+ 80% The Columnist (De Kuthoer) (2020) There is a great horror film waiting to be made about the enervating dread of simply being a woman online, but The Columnist isn't that film. - The Lens EDIT
Read More | Posted Jun 3, 2021
B- 92% Two Lottery Tickets (2021) This delightfully dry shaggy-dog comedy goes down smooth, like a welcome swig of cheap beer on a hot August afternoon. - The Lens EDIT
Read More | Posted May 28, 2021
B 93% The Killing of Two Lovers (2021) The cunning of Machoian's screenplay lies in how it uses its quietly incendiary opening scene to intensify every word, glance, and gesture that follows. - The Lens EDIT
Read More | Posted May 18, 2021
B- 40% Things Heard & Seen (2021) Preposterous and somewhat artless, but also a damn watchable Hudson Valley ghost story - The Lens EDIT
Read More | Posted May 6, 2021
C+ 82% For the Sake of Vicious (2021) Bone-crunchingly, stomach-churningly violent, but so concerned with maintaining momentum that it sacrifices narrative clarity. - The Lens EDIT
Read More | Posted May 6, 2021
C- 84% Bloodthirsty (2021) It's the kind of low-budget horror that does little to justify its own existence. - The Lens EDIT
Read More | Posted May 6, 2021
C- 83% Boys from County Hell (2020) It's a bit embarrassing how badly Boys from County Hell wants to be Shaun of the Dead. - The Lens EDIT
Read More | Posted May 6, 2021
B- 85% Jakob's Wife (2021) Crampton and Fessenden are the main reasons the film's low-key satire and wild character swerves work as well as they do. - The Lens EDIT
Read More | Posted May 6, 2021
C 61% The Banishing (2020) On the level of individual scenes, it's often deliciously effective, but the story is astonishingly unfocused and unintelligible. - The Lens EDIT
Read More | Posted May 6, 2021
C- 37% Held (2021) The screenplay has social-commentary ambitions, but the directors can't shake the stench of bargain-bin imitation that clings to the whole thing. - The Lens EDIT
Read More | Posted May 6, 2021
C 83% The Power (2021) An archetypal example of a horror film with a killer premise and very little notion of what to do with that premise. - The Lens EDIT
Read More | Posted May 6, 2021
B 96% Sisters with Transistors (2020) Expressive, invigorating, and even a little bit haunting in a manner that few explanatory documentaries rarely attempt, let alone achieve. - The Lens EDIT
Read More | Posted Apr 28, 2021
D 14% At Night Comes Wolves (2021) Marine hasn't just bitten off more than he can chew. He's pulling half-baked ideas out of cold storage, flinging them at the wall, and hoping that it will result in a comprehensible picture. - The Lens EDIT
Read More | Posted Apr 19, 2021
C+ 63% The Toll (2020) Despite chintzy production values and an ending that feels like a cheap, cynical rug-pull, The Toll remains a chilling, unconventional little indie-horror outing. - The Lens EDIT
Read More | Posted Mar 30, 2021
C- 17% The Seventh Day (2021) The worst kind of dully competent horror filmmaking - the kind that earnestly believes that it is doing something eerie, thrilling, and thoughtful. - The Lens EDIT
Read More | Posted Mar 30, 2021
C- 97% Slaxx (2020) The satire is toothless, the moralizing is hollow, and the characters are aggressively unpleasant caricatures. - The Lens EDIT
Read More | Posted Mar 30, 2021
B- 67% Honeydew (2021) Honeydew freely borrows familiar elements from several notable influences, but Milburn's bizarre stylistic stamp gives the story a harrowing unpredictability. - The Lens EDIT
Read More | Posted Mar 30, 2021
C- 86% Come True (2021) It's difficult to envision another 2021 horror film squandering its early promise as thoroughly as Come True. - The Lens EDIT
Read More | Posted Mar 30, 2021
C+ 78% Son (2021) Son packs lots of incident and gore into its 98 minutes, but not much originality. - The Lens EDIT
Read More | Posted Mar 30, 2021
B 93% Lucky (2020) A startling, existentialist marvel that conjures the absurd, exhausting sensation of living in the patriarchy's violent shadow. - The Lens EDIT
Read More | Posted Mar 30, 2021
B 93% The Fever (A febre) (2019) A slow, still film that journeys from grounded realism into the realm of dreamlike allegory. - The Lens EDIT
Read More | Posted Mar 22, 2021
B+ 74% The World to Come (2020) As wonderful as the film's lead performances are, it is Fastvold's eloquent and unexpectedly eccentric vision that transforms the film from yet another white lesbian period romance into a gorgeous, heartbreaking work. - The Lens EDIT
Read More | Posted Mar 16, 2021
B 90% The Vigil (2021) The secret to writer-director Keith Thomas' wonderfully creepy debut feature lies in its chilly, self-contained intimacy. - The Lens EDIT
Read More | Posted Mar 1, 2021
C- 50% Shook (2021) Harrington's solid direction can't salvage the tin-eared screenplay or shoddy performances, or prevent the plot's degeneration into a convoluted mess. - The Lens EDIT
Read More | Posted Mar 1, 2021
B- 89% After Midnight (Something Else) (2020) The individual viewer's patience for the cheeky creature feature After Midnight will depend on their tolerance for delayed satisfaction and quirky genre-mashing. - The Lens EDIT
Read More | Posted Mar 1, 2021
B- 88% Sator (2019) Profoundly, oppressively *creepy* in a way that puts far more lavish horror features to shame. - The Lens EDIT
Read More | Posted Mar 1, 2021
D+ 19% The Reckoning (2021) Poor Neil Marshall: Neither the director nor his leading lady have the talent to salvage this cheapjack Restoration-era horror flick - The Lens EDIT
Read More | Posted Mar 1, 2021
D 49% A Nightmare Wakes (2020) It might have been merely dull and slipshod, but A Nightmare Wake's ahistorical and insulting portrayal of Shelley is what truly rankles. - The Lens EDIT
Read More | Posted Mar 1, 2021
B 78% I Care a Lot (2021) A slick, feisty, and darkly comic film, where virtually every character is a magnificent bastard. - The Lens EDIT
Read More | Posted Feb 23, 2021
B+ 97% Atlantis (2019) For viewers willing to submit themselves to its somber, unhurried style, Vasyanovych's feature reveals a cruel, formidable vision. - The Lens EDIT
Read More | Posted Feb 17, 2021
B+ 93% Saint Maud (2020) An impressive and thoroughly unnerving debut feature from writer-director Rose Glass, keenly attuned to the agony and ecstasy of faith. - The Lens EDIT
Read More | Posted Feb 8, 2021
B- 80% The Night (2021) Ahari uses the hotel's interiors to brilliant, Lynchian effect, playing with the way that liminal spaces create a stage for potentially traumatic transformation. - The Lens EDIT
Read More | Posted Feb 1, 2021
B- 89% The Queen of Black Magic (Ratu ilmu hitam) (2019) Director Kimo Stamboel is clearly most invested at the set-piece level, where he serves up a giddy mixture of raw fear and extravagant bloodletting. - The Lens EDIT
Read More | Posted Feb 1, 2021
C- 69% Caged (2021) Gathegi gives it his all, but the film that surrounds him is regrettably uninterested in offering either narrative novelty or thematic clarity. - The Lens EDIT
Read More | Posted Feb 1, 2021
C 91% PG: Psycho Goreman (2021) Ridiculous, juvenile, and indulgently gross, but it also has the low-budget, psychotronic eccentricity of a feature made for an audience of one. - The Lens EDIT
Read More | Posted Feb 1, 2021
C+ 60% Hunted (2020) Hunted doesn't really succeed in its aim to transform a standard woman-vs.-maniac scenario into the stuff of Jungian nightmare. - The Lens EDIT
Read More | Posted Feb 1, 2021