Jenny Nulf
Tomatometer-approved critic
Jenny Nulf is a film critic, distributor, and programmer located in Austin, TX.
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Godland (2022) |
[GODLAND is] absolutely breathtaking work – the camera helmed by Maria von Hausswolff captures the unassuming beauty of Iceland, but also does not hide its frigid nature, both terrifying and beautiful. - Austin Chronicle
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| Posted Mar 02, 2023
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Dos Estaciones (2022) |
There’s a heaviness to [DOS ESTACIONES], but also there’s hope. - Austin Chronicle
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| Posted Feb 21, 2023
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Good Night Oppy (2022) |
Emotional investment is what makes any film work, and GOOD NIGHT OPPY’s main issue is that it’s too focused on accurately portraying the history of the project over bringing together the people who poured their lives into making it a success. - Austin Chronicle
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| Posted Feb 21, 2023
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All the Beauty and the Bloodshed (2022) |
A tremendous documentary, a striking piece of work that is so tender yet biting. - Austin Chronicle
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| Posted Feb 21, 2023
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Whitney Houston: I Wanna Dance with Somebody (2022) |
WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY is like the SparkNotes of [Houston's] life, a smattering of collected moments that feel hollow. - Austin Chronicle
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| Posted Feb 21, 2023
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The Whale (2022) |
There’s nothing consciously sinister about THE WHALE’s use of Charlie’s eating disorder (the original play was, in fact, written from experience), but Aronofsky’s adaptation is cruel, not just to Charlie’s character, but to all of them. - Austin Chronicle
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| Posted Feb 21, 2023
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All Quiet on the Western Front (2022) |
ALL QUIET ON THE WESTERN FRONT is more grisly, disturbing, and sadistic than any horror movie in 2022. - Austin Chronicle
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| Posted Feb 21, 2023
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Close (2022) |
[CLOSE] feels like a slow descent into depression, with grief laced throughout like a rising tide rather than a tsunami of sorrow. - Austin Chronicle
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| Posted Feb 21, 2023
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No Bears (2022) |
[Jafar Panahi's] latest film, NO BEARS, is an ambitious, powerful piece... - Austin Chronicle
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| Posted Feb 21, 2023
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2023 Oscar Nominated Shorts - Live Action (2023) |
While it’s rare for every title in the Oscar-Nominated Live Action Shorts to be a home run, this year’s crop is oddly shrug-worthy for the most part. - Austin Chronicle
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| Posted Feb 21, 2023
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Broker (2022) |
The charm of Kore-eda’s films is the layering of complex characters, and he puts a lot of heart and time into each of them, sculpting intricate emotions and relationships that connect with the viewer. - Austin Chronicle
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| Posted Jan 12, 2023
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Causeway (2022) |
Director Lila Neugebauer manages to keep the tone understated, focusing on the nuances of Lawrence and Henry’s performances that carry the weight of the heavy script. - Austin Chronicle
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| Posted Nov 15, 2022
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Minions: The Rise of Gru (2022) |
Minions: The Rise of Gru might not be sophisticated storytelling, but not all animated films have to be. Sometimes they can just be about joy. - Austin Chronicle
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| Posted Sep 27, 2022
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Where the Crawdads Sing (2022) |
Edgar-Jones’ easygoing allure isn’t enough to bind Where the Crawdads Sing together, though, leaving the film a generic, dull outing. - Austin Chronicle
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| Posted Sep 27, 2022
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My Donkey, My Lover & I (2020) |
My Donkey, My Lover & I isn’t going to break the mold, but it’s an easy stride of a film that’s bubbling with joy. - Austin Chronicle
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| Posted Sep 27, 2022
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Resurrection (2022) |
Hall’s progressive insanity unfolds effortlessly, reminiscent of Isabelle Adjani in Possession and Mia Farrow in Rosemary’s Baby. - Austin Chronicle
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| Posted Sep 27, 2022
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Medusa (2021) |
What begins as a punchy, feminine-biting satire becomes fuzzy after the first act. It’s an admirable effort, but an overstuffed, demanding one as well. - Austin Chronicle
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| Posted Sep 27, 2022
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Three Thousand Years of Longing (2022) |
Where Mad Max: Fury Road was lean, Three Thousand Years of Longing feels like a rough draft that should have stayed in a dusty bin somewhere in the middle of a tourist shop. - Austin Chronicle
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| Posted Sep 27, 2022
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The Invitation (2022) |
There’s no glitz or glamour to set it apart from the pack, and that’s ultimately [The Invitation's] demise. - Austin Chronicle
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| Posted Sep 27, 2022
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Blonde (2022) |
Blonde seeks to destroy that perfect pinup and topple the pristine myth of [Marilyn] Monroe’s celebrity. - Austin Chronicle
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| Posted Sep 27, 2022
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Emergency (2022) |
She slow-paced journey from setting to setting builds the tension a bit unevenly in service of the film’s themes. These bumps in the road leave Emergency imperfect, but it’s still a chaotic and thoughtful ride worth hitching onto. - Austin Chronicle
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| Posted May 19, 2022
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Hit the Road (2021) |
For those willing to dig and see past its simplistic charms, it’s quite an ambitiously layered debut. - Austin Chronicle
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| Posted May 12, 2022
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Petite Maman (2021) |
Petite Maman is a fine balance of heartache and whimsy. - Austin Chronicle
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| Posted May 05, 2022
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Hatching (2022) |
There is no compelling nature to this porcelain family. It’s like stepping into a dollhouse, and while beautiful aesthetically, the hollowness permeates the atmosphere almost too well. - Austin Chronicle
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| Posted Apr 28, 2022
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You Won't Be Alone (2022) |
A poetic glimpse at generational trauma. - Austin Chronicle
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| Posted Mar 31, 2022
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Umma (2022) |
There are so many interesting components of Umma that never click, wasting a completely original idea on banality. - Austin Chronicle
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| Posted Mar 24, 2022
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Women Do Cry (2021) |
Women Do Cry offers a lot to chew on, and a lot to admire. - Austin Chronicle
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| Posted Mar 20, 2022
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The Locust (2022) |
There’s so much to unpack in the film’s brief runtime. - Austin Chronicle
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| Posted Mar 20, 2022
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Bodies Bodies Bodies (2022) |
A fun, inverted single location thrill ride, director Halina Reijn creates one rainbow swirl of a good time. - Austin Chronicle
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| Posted Mar 16, 2022
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X (2022) |
The expectations for West’s return to film were high, and luckily X brings this master of horror back with a bang. - Austin Chronicle
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| Posted Mar 16, 2022
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Skate Dreams (2022) |
Skate Dreams is a bright, sweet, and badass film – a kaleidoscope picture of incredible and talented skateboarders who are devoted to their totally wicked passion. - Austin Chronicle
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| Posted Mar 12, 2022
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Studio 666 (2022) |
Studio 666 feels like a dud – a horror movie with no good hooks and a rock & roll film that lacks the bombastic energy that’s ever present at the band’s live shows. - Austin Chronicle
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| Posted Feb 24, 2022
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A Banquet (2021) |
The further the movie proceeds away from the gruesome opening scene, the more detached A Banquet feels from its own catalyst, entirely muddling its potency as a grieving allegory. - Austin Chronicle
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| Posted Feb 17, 2022
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Introduction (2021) |
Introduction feels like a mediation on how time chips away at first impressions: What started as something beautiful and simple can become complicated, unattainable, and hard to hold on to. - Austin Chronicle
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| Posted Feb 03, 2022
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Charli XCX: Alone Together (2021) |
The documentary's sugar rush display of healthy fandom is a rarity, giving the film legs outside its pandemic novelty. - Austin Chronicle
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| Posted Jan 27, 2022
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Scream (2022) |
Scream is a blast, a solid setup for more to come. - Austin Chronicle
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| Posted Jan 20, 2022
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A Hero (2021) |
A bubbling thriller about one man's two-day leave from jail and how one innocence-driven good deed tangles itself in a mess that jeopardizes his chances of getting out of jail permanently. - Austin Chronicle
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| Posted Jan 20, 2022
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Labyrinth of Cinema (2019) |
Labyrinth of Cinema's breathtaking journey through time is a stunning endeavor, as timeless as they come, like much of the master's work. - Austin Chronicle
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| Posted Dec 31, 2021
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Drive My Car (2021) |
Hamaguchi is adept in character study, his films unfolding as if they were novels, totally consuming. - Austin Chronicle
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| Posted Dec 16, 2021
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The Hand of God (2021) |
The Hand of God is as beautiful as Youth, The Great Beauty, or any one of Sorrentino's earlier films. It's a personal, aching, and romantic film that's swimming in the complicated trials of youth. - Austin Chronicle
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| Posted Dec 09, 2021
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Benedetta (2021) |
Verhoeven's surprising restraint is what presents Benedetta as one of his best. - Austin Chronicle
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| Posted Dec 02, 2021
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Writing with Fire (2021) |
Writing With Fire is at its best when emphasizing the barriers these women have to overcome daily to fulfill their desires to be journalists, and showcasing the importance of Khabar Lahariya's work where corruption runs amok. - Austin Chronicle
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| Posted Nov 24, 2021
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Julia (2021) |
Julia is a thorough documentary, concise in a way that's ideal for the casual couch surfer. Like Child, the film's a delight, but slightly unlike her, Julia doesn't bring any new techniques to the table of biographical documentaries. - Austin Chronicle
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| Posted Nov 24, 2021
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Dead & Beautiful (2021) |
There's a hollowness to its beauty, as much as there is with its messaging. - Austin Chronicle
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| Posted Nov 04, 2021
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Wheel of Fortune and Fantasy (2021) |
Hamaguchi has a beautiful outlook on mistakes and the complex emotions that make up humanity, and his tenderness toward each character he brings to life makes him one of the best storytellers working today. - Austin Chronicle
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| Posted Oct 28, 2021
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Titane (2021) |
Titane is a truly harrowing experience, if you're willing to let go behind the wheel. - Austin Chronicle
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| Posted Oct 15, 2021
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Hard Luck Love Song (2020) |
Hard Luck Love Song's ultimate turn is a twist too far, and perhaps to a fault the film's most memorable moment. - Austin Chronicle
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| Posted Oct 15, 2021
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The Eyes of Tammy Faye (2021) |
It is also a shame that The Eyes of Tammy Faye is too timid to critique its subject: her naive chase of glamour, her willingness to be part of a subsect that does more harm than good, and her obliviousness of the scam she took part in. - Austin Chronicle
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| Posted Sep 17, 2021
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Malignant (2021) |
Malignant isn't a good movie, but the bones of its giallo salute are just outlandish enough to make one wonder if the obtuse moments are purposeful. - Austin Chronicle
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| Posted Sep 17, 2021
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The Nowhere Inn (2020) |
While St. Vincent's The Nowhere Inn is not the standard performative music documentary, it opens a window to her soul that many are never able to give away so freely in front of the camera. - Austin Chronicle
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| Posted Sep 17, 2021
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