Most critics respond warmly to DTF St. Louis, with praise clustering around Steven Conrad’s writing and direction, the lead performances and a darkly comic treatment of middle-aged dissatisfaction. David Harbour receives particular attention, while the blend of murder mystery, sexual intrigue and male friendship is widely seen as less predictable than its premise suggests. The warmer reviews find grounded concerns about loneliness and connection beneath the suburban oddness.
Reservations centre on pace, tonal consistency and the strength of the mystery itself. Collider admires the central trio and sharp comedy but finds the investigation more conventional and less engaging than the flashbacks. The Hollywood Reporter is cautious about the shift from coarse humour to sentiment, with its judgement explicitly provisional. The Telegraph offers the coolest assessment, finding thoughtful material weighed down by slow pacing and quirkiness. The spread runs from enthusiastic approval to mixed responses, rather than outright rejection.