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
C+ 88% 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- 28% 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 No Score Yet 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 59% 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+ 81% 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- 38% 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
91% 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- 89% 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+ 86% 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- 22% 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 67% 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+ 61% 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- 99% 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- 83% 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
B+ 83% Midsommar (2019) Emotionally raw and garishly demented, Midsommar uses the markers of European folk-horror to critique the miserably human compulsion to cling to bad relationships. - The Lens EDIT
Read More | Posted Jul 2, 2019
B+ 93% The Last Black Man in San Francisco (2019) Evokes profound melancholy over its characters' personal losses and the real-world plight of black Americans, while also nurturing a vital existential truth: A person is more than the four walls that surround them. - The Lens EDIT
Read More | Posted Jun 25, 2019
B 92% Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese (2019) Within the limits of an ostensible "straight" concert film, Scorsese has crafted an irresistible mosaic of truth and myth. - The Lens EDIT
Read More | Posted Jun 18, 2019
B+ 95% Shadow (2019) Deliriously stylish (and seriously grim). - The Lens EDIT
Read More | Posted Jun 12, 2019
B 91% 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 92% 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+ 41% 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 90% 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+ 58% 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+ 75% 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 64% 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- 42% Thriller (2018) A chintzy, laborious dud of a film. - The Lens EDIT
Read More | Posted May 1, 2019
D+ 30% 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- 29% 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 93% 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- 70% 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