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
| Rating | T-Meter | Title | Year | Review |
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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
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| Posted Dec 08, 2022
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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
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| Posted Sep 09, 2022
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On the Record (2020) |
On the Record is a lesson in power and its caprices. - New Yorker
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| Posted Jun 25, 2020
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Aziz Ansari: Right Now (2019) |
In Right Now, Ansari is a fitting ambassador for a certain bourgeois ambivalence. - New Yorker
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| Posted Jul 15, 2019
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Ma (2019) |
Taylor and Spencer's detour to horror drifts, ever backward, into the zone of schmaltz. - New Yorker
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| Posted May 31, 2019
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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
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| Posted Mar 21, 2019
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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
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| Posted Aug 14, 2018
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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
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| Posted Aug 14, 2018
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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
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| Posted May 01, 2018
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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
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| Posted Apr 06, 2018
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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
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| Posted Mar 21, 2018
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Girls Trip (2017) |
[Tiffany] Haddish is a genius technician of physical comedy, at once subtle and gigantic. - New Yorker
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| Posted Dec 28, 2017
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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
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| Posted Nov 20, 2017
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