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+ 95% Shadow (2019) Deliriously stylish (and seriously grim). - The Lens EDIT
Read More | Posted Jun 12, 2019
B 94% Starfish (2019) It's The Mist as a one-woman college radio show, with a dollop of Another Earth and a dash of Tarkovsky. So, yeah: WEIRD. - The Lens EDIT
Read More | Posted Jun 3, 2019
C- No Score Yet The Convent (2019) Turns profane raw materials into a lackluster array of stock horror drivel. - The Lens EDIT
Read More | Posted Jun 3, 2019
C 89% The Nightshifter (Morto nâo fala) (2018) Despite flashes of vicious inspiration, The Nightshifter is mostly content to pummel its distasteful protagonist with tiresome haunted-house shocks. - The Lens EDIT
Read More | Posted Jun 3, 2019
C+ 40% Godzilla: King of the Monsters (2019) Gnarly thrills and aesthetic delights battle dopey dialog and an insipid story. - The Lens EDIT
Read More | Posted May 30, 2019
B+ 97% Booksmart (2019) It's a delightful little miracle: a humane The Breakfast Club message smuggled inside an outlandish Fast Times at Ridgemont High package. - The Lens EDIT
Read More | Posted May 23, 2019
B 89% John Wick: Chapter 3 - Parabellum (2019) Provided the series remains this exciting, inventive, and visually invigorating, anyone who appreciates the sweet science of cinematic violence should welcome a new John Wick film. - The Lens EDIT
Read More | Posted May 17, 2019
B+ 56% Under the Silver Lake (2019) Even when it fumbles, Under the Silver Lake remains a weird, audacious, and intoxicating work. - The Lens EDIT
Read More | Posted May 9, 2019
C+ 73% I Trapped The Devil (2019) The performances are regrettably subpar, and the pacing is frustratingly glacial in stretches. - The Lens EDIT
Read More | Posted May 1, 2019
C 66% Body at Brighton Rock (2019) Benjamin has a great concept, but she's hamstrung by an underwhelming cast and her own indecisiveness with respect to tone. - The Lens EDIT
Read More | Posted May 1, 2019
D- 43% Thriller (2018) A chintzy, laborious dud of a film. - The Lens EDIT
Read More | Posted May 1, 2019
D+ 23% The Silence (2019) The Silence throws the taut brilliance of A Quiet Place into sharp relief, simply by doing everything wrong that the latter feature does right. - The Lens EDIT
Read More | Posted May 1, 2019
B+ 80% The Wind (2019) A marvelously unsettling and elliptical tale of frontier terror. - The Lens EDIT
Read More | Posted May 1, 2019
B 94% Avengers: Endgame (2019) In a franchise that often resembles one exhausting run-on sentence, Avengers: Endgame feels like a welcome period (or at least a semicolon). - The Lens EDIT
Read More | Posted Apr 25, 2019
C- 30% The Curse of La Llorona (2019) If this is what representation looks like, Latinx horror fans could be forgiven for taking a hard pass. - The Lens EDIT
Read More | Posted Apr 18, 2019
B- 57% Pet Sematary (2019) A decidedly mixed bag, but still a creeping, squirming, tendon-slicing bad time in all the right ways. - The Lens EDIT
Read More | Posted Apr 4, 2019
C- 40% Mercy Black (2019) Unlike last year's Slender Man, Mercy Black is at least a functional work of cinema. Indefensibly drab and dull, but functional. - The Lens EDIT
Read More | Posted Apr 2, 2019
B+ 94% The Mustang (2019) An exceedingly accomplished debut: lyrical, touching, and hard-bitten. - The Lens EDIT
Read More | Posted Mar 28, 2019
B 94% Us (2019) An American nightmare that feels equal parts resonant, fascinating, and preposterous. - The Lens EDIT
Read More | Posted Mar 20, 2019
C+ 78% Captain Marvel (2019) The feature's gender politics feel like a bit of a pose: too superficial to convey the source material's fiercely feminist mythology, and too desperate for applause for it to be regarded as sincere. - The Lens EDIT
Read More | Posted Mar 7, 2019
B- 69% The Changeover (2019) This horror-tinged coming-of-age tale takes a refreshingly restrained approach to its witchy world-building. - The Lens EDIT
Read More | Posted Feb 26, 2019
C- 64% St. Agatha (2019) A suffocating and monotonous slow-boil Southern-gothic thriller. - The Lens EDIT
Read More | Posted Feb 26, 2019
B- 100% Horror Noire: A History of Black Horror (2019) Dense with both trenchant observations and revelatory 'forgotten lore,' such that even horror obsessives will learn something new. - The Lens EDIT
Read More | Posted Feb 26, 2019
C+ 63% Velvet Buzzsaw (2019) A half-baked work of shambolic horror-kitsch -- barely functional as a story but still enjoyable for its moments of fleeting midnight-movie madness. - The Lens EDIT
Read More | Posted Feb 26, 2019
C+ 71% Piercing (2019) Undeniably striking from an aesthetic standpoint, but dragged down by repetitive, ultimately vacuous cat-and-mouse games. - The Lens EDIT
Read More | Posted Feb 26, 2019
B- 89% Braid (2019) In Braid, the boundaries between reality, fantasy, and outright nightmare dissolve in a blur of psychosexual weirdness - The Lens EDIT
Read More | Posted Feb 26, 2019
B- 91% How to Train Your Dragon: The Hidden World (2019) Despite some narrative and comedic missteps, The Hidden World thrillingly fulfills the series' defining features and brings the saga to a touching endpoint. - The Lens EDIT
Read More | Posted Feb 21, 2019
B- 69% Happy Death Day 2U (2019) A fearless, sloppy, gloriously looney-toons swing for the fences. - The Lens EDIT
Read More | Posted Feb 13, 2019
C+ 85% The LEGO Movie 2: The Second Part (2019) For shockingly long stretches, this new Lego Movie is more of an ungainly, plodding jumble than a functional film. - The Lens EDIT
Read More | Posted Feb 7, 2019
C+ 75% Pledge (2019) It never finds the satirical edge that might have counterbalanced all the mirthless sadism - American Psycho this isn't - but Pledge at least has the restraint to remain satisfyingly cryptic and volatile. - The Lens EDIT
Read More | Posted Feb 1, 2019
No Score Yet Jasmine (2017) A funereal urban noir that throbs with poisonous, jittery energy. - St. Louis Magazine EDIT
Read More | Posted Jan 23, 2019
91% Alphaville (1965) Godard whips this peculiar mélange of cinematic influences and invention into a work that is stimulating, stylish, and irresistible. - The Lens EDIT
Read More | Posted Jan 22, 2019
C- 39% The Mountain Between Us (2017) Mired in the feeble drama of vague logistical bickering, predictable revelations, and tiresome logic-vs-instinct dichotomies. - The Lens EDIT
Read More | Posted Jan 19, 2019
A- 87% Blade Runner 2049 (2017) Welcome proof that returning to and expanding on a cherished story can still produce invigorating cinema that lives up to the ambition and artistry of the original. - The Lens EDIT
Read More | Posted Jan 19, 2019
C+ 80% Marshall (2017) The film is handsome and admittedly rousing in spots, but also dismally familiar, and presented with an annoying slathering of winking hindsight. - The Lens EDIT
Read More | Posted Jan 19, 2019
C+ 64% The Foreigner (2017) The Foreigner is really two half-baked films rather than one complete feature. - The Lens EDIT
Read More | Posted Jan 19, 2019
B 76% Take Every Wave: The Life of Laird Hamilton (2017) Director Rory Kennedy, far from ceding the story to her subject, adroitly finds his wavelength and then amplifies it to fill her film. - The Lens EDIT
Read More | Posted Jan 19, 2019
D+ 7% The Snowman (2017) The truly gob smacking thing about The Snowman is how fundamentally incompetent it feels, considering the caliber of filmmakers who brought this lumbering beast to life. - The Lens EDIT
Read More | Posted Jan 19, 2019
B+ 96% The Florida Project (2017) A modest miracle of a film, in which director Baker gracefully juggles the story's disparate temperaments. - The Lens EDIT
Read More | Posted Jan 19, 2019
B 93% Thor: Ragnarok (2017) Ragnarok might not be the auteurist MCU film the world is (still) waiting for, but it hits a sweet spot between flashy adolescent fun and engaging characterization. - The Lens EDIT
Read More | Posted Jan 19, 2019
B- 67% Wonderstruck (2017) A handsome, heartening celebration of discovery, undercut by the perceptible dissonance between story and the director's natural affinities. - The Lens EDIT
Read More | Posted Jan 19, 2019
A- 80% The Killing of a Sacred Deer (2017) The Killing of a Sacred Deer is a harrowing experience executed with darkling precision. - The Lens EDIT
Read More | Posted Jan 19, 2019
B 85% The Square (2017) A terrific exemplar of ambitious cringe comedy, executed with great assurance and wit. - The Lens EDIT
Read More | Posted Jan 19, 2019
C 40% Justice League (2017) It leaves the viewer to grope their way through confused plotting, kludgy exposition, and half-baked characterization. - The Lens EDIT
Read More | Posted Jan 19, 2019
B- 91% The Disaster Artist (2017) This absurdist comedy about an enigmatic auteur emerges as Franco's warmest, most crowd-pleasing directorial effort to date. - The Lens EDIT
Read More | Posted Jan 19, 2019
A- 92% The Shape of Water (2017) A crystallization of timeless themes with exhilarating emotional frankness, spacious humanism, and extravagant style. - The Lens EDIT
Read More | Posted Jan 19, 2019
B+ 95% Call Me by Your Name (2018) Guadagnino's film looks like idealized young love feels. It's as warm, lush, and timeless as a sacred Apollonian grove. - The Lens EDIT
Read More | Posted Jan 19, 2019
C 37% Glass (2019) Glass is very mixed bag: compelling when it's good, but numbing and absurd when it's bad. - The Lens EDIT
Read More | Posted Jan 17, 2019
83% 9 Full Moons (2014) When 9 Full Moons is focused on the forlorn two-person saga of Lev and Frankie, it's at its most affecting and intriguing. - Gateway Cinephile EDIT
Read More | Posted Jan 14, 2019
C 63% Bird Box (2018) A clunky, middling rehash of tired apocalyptic-fiction tropes. - The Lens EDIT
Read More | Posted Jan 4, 2019