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      Doreen St. Felix

      Doreen St. Felix

      Doreen St. Felix's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s): New York Times New Yorker 4Columns

      Movies reviews only

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      Rating T-Meter Title | Year Review
      The Janes (2022) You don’t watch The Janes for aesthetic pleasure. The palette is sober, and the filmmaking itself is recalcitrant, in service always of its tremendous story. But there is one moment I found indelible... - New Yorker
      Read More | Posted Dec 08, 2022
      Katrina Babies (2022) Obliquely, “Katrina Babies” is a study of the autonomy of the Black child, and of how the government abuses its youngest citizens. - New Yorker
      Read More | Posted Sep 09, 2022
      On the Record (2020) On the Record is a lesson in power and its caprices. - New Yorker
      Read More | Posted Jun 25, 2020
      Aziz Ansari: Right Now (2019) In Right Now, Ansari is a fitting ambassador for a certain bourgeois ambivalence. - New Yorker
      Read More | Posted Jul 15, 2019
      Ma (2019) Taylor and Spencer's detour to horror drifts, ever backward, into the zone of schmaltz. - New Yorker
      Read More | Posted May 31, 2019
      Amy Schumer Growing (2019) Schumer's knee-jerk overshare here aspires to more than the quick, gross-out response. But her exhibitionism does not amount to real confession. - New Yorker
      Read More | Posted Mar 21, 2019
      BlacKkKlansman (2018) Stallworth recognizes that "white voice" is a seductive fiction, like many of the customs of association cherished within the K.K.K. - New Yorker
      Read More | Posted Aug 14, 2018
      Sorry to Bother You (2018) [The] critique, ultimately, is a moral reversal, one that has less to do with making the white man a stereotype than with giving the black one a sense of self. - New Yorker
      Read More | Posted Aug 14, 2018
      The Rachel Divide (2018) "The Rachel Divide" becomes a disturbing and enthralling drama of the American family, the pain of its truths and its fictions. - New Yorker
      Read More | Posted May 01, 2018
      Grace Jones: Bloodlight and Bami (2017) This is the rhythm of Bloodlight and Bami, tacking from disclosure to effacement, folksy verit to extravagance. It takes its cues from Jones herself, who is like a second director, one fluent in the language of mythmaking. - 4Columns
      Read More | Posted Apr 06, 2018
      Love, Simon (2018) The film is as sweet as bubble-gum-flavored medicine; it arrives as if without cinematic lineage-unburdened by cinema's history of equating gayness with death. It just stops short of producing a picture of gay attraction. - New Yorker
      Read More | Posted Mar 21, 2018
      Girls Trip (2017) [Tiffany] Haddish is a genius technician of physical comedy, at once subtle and gigantic. - New Yorker
      Read More | Posted Dec 28, 2017
      A Better Man (2017) The documentary's cleverness is that it resists the roundness of resolution or catharsis, while also acknowledging that Khan and Steve will always remain some kind of asymmetrical unit. - New Yorker
      Read More | Posted Nov 20, 2017
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