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- 79% Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020) A confetti blast of manic female fury. Weird and messy, but a lot of R-rated fun. - The Lens EDIT
Read More | Posted Feb 11, 2020
B 62% Gretel & Hansel (2020) A Halloween-night psilocybin trip squirming with mythic symbolism. - The Lens EDIT
Read More | Posted Feb 4, 2020
D- 25% The Host (2020) A gory, dreary dud of a potboiler -- and a brazen, hackish ripoff of 'Psycho'. - The Lens EDIT
Read More | Posted Jan 31, 2020
C 50% The Sonata (2020) A moody but distractingly uneven occult mystery, undercut by clunky, B-movie dialogue. - The Lens EDIT
Read More | Posted Jan 31, 2020
C- No Score Yet The Marshes (2018) A novel premise with some provincial flavor, but in practice it amounts to 85 aimless, laborious minutes of hiding, running, and screaming. - The Lens EDIT
Read More | Posted Jan 31, 2020
C+ 85% Color Out of Space (2020) The screenplay abounds in silliness and miscalculation, there's still plenty to admire about the feature that emerged from its pages. - The Lens EDIT
Read More | Posted Jan 28, 2020
B+ 96% I Lost My Body (2019) A truly beguiling work, and the best animated feature of 2019 -- hands down. - The Lens EDIT
Read More | Posted Jan 23, 2020
B 93% Invisible Life (A vida invisível de Eurídice Gusmão) (2019) A heartbreaking epic melodrama in the Fassbinder tradition, rendered fresh and vibrant by director Karim Aïnouz. - The Lens EDIT
Read More | Posted Jan 15, 2020
B 89% 1917 (2020) A visceral war epic that manages to be bitterly anti-war at heart while also honoring fleeting moments of heroism of and grace. - The Lens EDIT
Read More | Posted Jan 8, 2020
B 94% In Fabric (2019) It doesn't make a whole lot of sense, but Peter Strickland's hallucinatory horror-comedy looks and sounds like no other genre film in recent memory. - The Lens EDIT
Read More | Posted Jan 3, 2020
D+ 52% Rabid (2019) A crummy, distressingly slapdash remake, one that's especially disappointing coming from the Soskas. - The Lens EDIT
Read More | Posted Jan 3, 2020
A- 92% Uncut Gems (2019) Excruciating, repulsive, and utterly exhilarating. - The Lens EDIT
Read More | Posted Dec 23, 2019
B+ 80% A Hidden Life (2019) Malick conveys the roiling tension between the world's sublime and monstrous aspects as no other director can, and A Hidden Life represents his most sorrowful and earthbound expression of this duality to date. - The Lens EDIT
Read More | Posted Dec 19, 2019
C+ 39% Black Christmas (2019) Takal has trouble juggling the fun, scares, and politics in what had the potential to be a misogyny-skewering Yuletide romp. - The Lens EDIT
Read More | Posted Dec 16, 2019
B+ 97% Knives Out (2019) Rian Johnson drags the whodunit kicking and screaming into the 21st century with the sort of breezy glee that only an enthusiast of the genre could muster. - The Lens EDIT
Read More | Posted Nov 26, 2019
A- 99% Parasite (Gisaengchung) (2019) Parasite attests to a filmmaker at the peak of powers, telling precisely the story he wants to tell in a way that showcases his distinctive virtuosity. - The Lens EDIT
Read More | Posted Nov 20, 2019
B 77% Doctor Sleep (2019) A superb and surprisingly brutal 120-minute horror-thriller about people with psychic abilities... with a hokey 30-minute The Shining fan film grafted onto it. - The Lens EDIT
Read More | Posted Nov 6, 2019
D- 30% Trick (2019) It's like someone wrung all the satire out of the Scream franchise and replaced it with cheap edgelord viciousness. - The Lens EDIT
Read More | Posted Oct 31, 2019
C- 48% Eli (2019) Foy and the film's three writers build to an artless, third-act twist that feels like a future case study for cheap screenwriting rug-pulls. - The Lens EDIT
Read More | Posted Oct 31, 2019
D+ 4% Mary (2019) Goi's direction is journeyman-competent, but he can't salvage Mary from its bounty of glum clichés. - The Lens EDIT
Read More | Posted Oct 31, 2019
C+ 62% The Furies (2019) D'Aquino's film possesses far more ambition than sense, but it also has a few things going for it: style, gore, and a credible and unconventional Final Girl. - The Lens EDIT
Read More | Posted Oct 31, 2019
B- 51% Wounds (2019) Within confines of its gimmicky setup, Anvari delivers an intimate, multi-layered story about an unmoored soul who first recoils from and is then devoured by an ineffable evil. - The Lens EDIT
Read More | Posted Oct 31, 2019
B+ 90% The Lighthouse (2019) Depending on the scene, Eggers' wild, nervy film might convey its ideas with dense existential dread, repulsive fantasy visuals, or utterly deranged slapstick. - The Lens EDIT
Read More | Posted Oct 23, 2019
B- 97% Dolemite Is My Name (2019) Eddie Murphy *is* Rudy Ray Moore *is* Dolemite, and all three are essential to this simple but surprisingly sweet tale about hard-won dreams coming true. - The Lens EDIT
Read More | Posted Oct 23, 2019
C+ 92% Bliss (2019) Hampered by a meandering, repetitive screenplay and thematic shallowness, but it's hard not to be impressed by Madison's committed, unhinged performance. - The Lens EDIT
Read More | Posted Oct 10, 2019
C- 25% Corporate Animals (2019) Tries to coast on grisly slapstick and the kind of social "satire" that constitutes little more than gawking at squabbling jerks. - The Lens EDIT
Read More | Posted Oct 10, 2019
C+ 50% Bloodline (2019) The dreamy, feverish, distinctly L.A. atmosphere in this serial-killer character study conceals a predictable, even banal screenplay. - The Lens EDIT
Read More | Posted Oct 10, 2019
D 17% Hell House LLC III: Lake of Fire (2019) The latest entry in a tedious, chintzy franchise that's akin to the saddest haunted house attraction in cinematic form. - The Lens EDIT
Read More | Posted Oct 10, 2019
C+ 87% Depraved (2019) A solid, creepy, and occasionally rewarding work of low-fi horror, but it struggles to find something novel in the Frankenstein story. - The Lens EDIT
Read More | Posted Oct 10, 2019
C 61% Satanic Panic (2019) In a horror-comedy that's otherwise shamefully light on scares and laughs, the gruesome curses that the Satanists call down on their enemies are a highlight. - The Lens EDIT
Read More | Posted Oct 10, 2019
B+ 82% Memory: The Origins of Alien (2019) Like the masterful film it considers, the weird, haunting, and fascinating Memory is alternately precise and oblique in the ways it conveys its ideas. - The Lens EDIT
Read More | Posted Oct 10, 2019
A- 97% Tigers Are Not Afraid (Vuelven) (2019) A Grimm-worthy modern folktale that is at once utterly pitiless and deeply touching. - The Lens EDIT
Read More | Posted Oct 4, 2019
C 68% Joker (2019) Joker plays like the Clown Prince's own propaganda film, a flimsy, sloppy "You Made Me Do This" ex post facto justification for all the criminal havoc he wreaks on Gotham in the ensuing years. - The Lens EDIT
Read More | Posted Oct 2, 2019
A- 84% Ad Astra (2019) An exquisitely forlorn space epic where the spectacle elegantly serves Gray's interest in human ambition, desire, and frailty. - The Lens EDIT
Read More | Posted Sep 19, 2019
C+ 63% It Chapter Two (2019) There's a sense of rushed, dutiful, and often uninspired box-checking that saps the film's purportedly phantasmagorical sequences of their potency. - The Lens EDIT
Read More | Posted Sep 12, 2019
C- 37% Tone-Deaf (2019) Gruesomely diverting and agreeably bizarre in shorts bursts but ultimately undone by its determination to use its characters as proxies in a facile, idiotic Boomer-vs.-Millennial culture clash. - The Lens EDIT
Read More | Posted Sep 5, 2019
D+ 5% Jacob's Ladder (2019) Resembles the blandest of Lifetime Originals dressed up with cut-rate J-horror flourishes. - The Lens EDIT
Read More | Posted Sep 5, 2019
90% Midnight Cowboy (1969) More than the grime and the weirdos, more than "Everybody's Talkin'" and "I'm walkin' here!," what echoes through the decades is its poignant depiction of an unlikely, contentious, and yet weirdly tender friendship forged on the margins of society. - The Lens EDIT
Read More | Posted Aug 28, 2019
B- 88% Ready or Not (2019) Gory, profane, and a hell of a lot more fun than it has any right to be. - The Lens EDIT
Read More | Posted Aug 21, 2019
B+ 87% The Nightingale (2019) A staggeringly cruel thriller and a haunting meditation on oppression, solidarity, and the limits of revenge. - The Lens EDIT
Read More | Posted Aug 13, 2019
C- 23% The Kitchen (2019) Berloff doesn't seem to have given much thought to how a woman-centered story might uproot crime drama conventions (if at all). - The Lens EDIT
Read More | Posted Aug 7, 2019
D 71% Deadtectives (2019) Tony West's irksome film proves that over-the-top occult silliness is no substitute for proficient filmmaking. - The Lens EDIT
Read More | Posted Aug 2, 2019
D+ 59% Trespassers (2019) An formally undistinguished, narratively lumpy, and faintly racist tale of unsympathetic victims vs. demonically wicked criminals. - The Lens EDIT
Read More | Posted Aug 2, 2019
C- 70% Darlin' (2019) The film's sharp-elbowed feminist ambitions are stymied by its scattershot plot, clumsy characterization, and tonal indecisiveness. - The Lens EDIT
Read More | Posted Aug 2, 2019
B 83% Share (2019) A raw, keen-eyed depiction of an adolescent girl's experiences in the brave new (yet same-as-it-ever-was) world of the 2010s - The Lens EDIT
Read More | Posted Jul 31, 2019
A- 98% The Farewell (2019) A film of sorrowful, unassuming elegance, charming in its cultural specificity but thoughtfully somber in its treatment of that universal inevitability, mortality. - The Lens EDIT
Read More | Posted Jul 25, 2019
B- 84% The Art of Self-Defense (2019) The film's stilted, deadpan tone allows Stearns to maintain a blithe comic distance even as he takes the plot into the blackest crevasses of the anxious male mind. - The Lens EDIT
Read More | Posted Jul 17, 2019
A- 94% Transit (2019) Petzold's control of character and mood is peerless in this dazzling, brilliantly slippery fable about the dislocations of tyranny and war. - The Lens EDIT
Read More | Posted Jul 10, 2019
C- 77% Nightmare Cinema (2019) Like most horror-anthology features, this is a frustratingly mixed bag. - The Lens EDIT
Read More | Posted Jul 5, 2019
D+ 50% Boar (2017) An exasperating mess, unredeemed even by the grindhouse thrill of copious gorings and disembowelments. - The Lens EDIT
Read More | Posted Jul 5, 2019