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Doreen St. Felix

Doreen St. Felix's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).

Reviews

Movies TV Shows
The Encampments (2025) 94% EDIT ““The Encampments” is a very conventional documentary on purpose. It mounts its argument with little flare and with muted aestheticization, all to dispel the hysteria surrounding its subject.” – The New Yorker May 22, 2025 Full Review The Janes (2022) 100% EDIT “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...” – The New Yorker Dec 8, 2022 Full Review Katrina Babies (2022) 100% EDIT “Obliquely, “Katrina Babies” is a study of the autonomy of the Black child, and of how the government abuses its youngest citizens.” – The New Yorker Sep 9, 2022 Full Review On the Record (2020) 99% EDIT “On the Record is a lesson in power and its caprices.” – The New Yorker Jun 25, 2020 Full Review Aziz Ansari: Right Now (2019) 84% EDIT “In Right Now, Ansari is a fitting ambassador for a certain bourgeois ambivalence.” – The New Yorker Jul 15, 2019 Full Review Ma (2019) 55% EDIT “Taylor and Spencer's detour to horror drifts, ever backward, into the zone of schmaltz.” – The New Yorker May 31, 2019 Full Review Amy Schumer Growing (2019) 79% EDIT “Schumer's knee-jerk overshare here aspires to more than the quick, gross-out response. But her exhibitionism does not amount to real confession.” – The New Yorker Mar 21, 2019 Full Review BlacKkKlansman (2018) 96% EDIT “Stallworth recognizes that "white voice" is a seductive fiction, like many of the customs of association cherished within the K.K.K.” – The New Yorker Aug 14, 2018 Full Review Sorry to Bother You (2018) 93% EDIT “[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.” – The New Yorker Aug 14, 2018 Full Review The Rachel Divide (2018) 71% EDIT “"The Rachel Divide" becomes a disturbing and enthralling drama of the American family, the pain of its truths and its fictions.” – The New Yorker May 1, 2018 Full Review Grace Jones: Bloodlight and Bami (2017) 87% EDIT “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 Apr 6, 2018 Full Review Love, Simon (2018) 92% EDIT “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.” – The New Yorker Mar 21, 2018 Full Review Girls Trip (2017) 91% EDIT “[Tiffany] Haddish is a genius technician of physical comedy, at once subtle and gigantic.” – The New Yorker Dec 28, 2017 Full Review A Better Man (2017) 100% EDIT “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.” – The New Yorker Nov 20, 2017 Full Review
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