Jenny Nulf

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Austin Chronicle
For 105 reviews, this critic has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Jenny Nulf's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Drive My Car
Lowest review score: 20 Finding You
Score distribution:
  1. Positive: 64 out of 105
  2. Mixed: 31 out of 105
  3. Negative: 10 out of 105
105 movie reviews
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    • 70 Metascore
    • 78 Jenny Nulf
    Monkey Man
    Dev Patel’s directorial debut Monkey Man is a gritty, nasty piece of work.
    • 68 Metascore
    • 78 Jenny Nulf
    Problemista
    Torres mixes in everything that makes his specific brand of comedy unique into Problemista: Alejandro's toy pitches are obscurely sassy, his imaginative use of CGI and costuming is fantastical, and his dry delivery is the perfect juxtaposition to the film's outlandish absurdity.
    • 47 Metascore
    • 67 Jenny Nulf
    Lisa Frankenstein
    For a film that’s rooted in genre tropes, there’s no genre atmosphere to visually anchor down the film’s themes. With the spectacle fizzled out, visually Williams’ film isn’t enough to take it over the edge and make it memorable. Still, first-time direction hurdles aside, it’s a serviceable, fun goth romp.
    • 58 Metascore
    • 20 Jenny Nulf
    Mean Girls
    A shot-for-shot remake would have had more school spirit than this.
    • 42 Metascore
    • 40 Jenny Nulf
    Aquaman And The Lost Kingdom
    The last hoorah of Synder’s messy DC Extended Universe – one that could have been a thrilling goodbye and a reminder that not all of it was bland – will likely sink to the bottom of the ocean, a forgotten relic of an era. Momoa’s Aquaman deserved a lot more.
    • 47 Metascore
    • 40 Jenny Nulf
    Wish
    Wish doesn’t evoke swelling feelings of nostalgia, but rather a longing for the pristine storytelling of the studio’s past.
    • 61 Metascore
    • 50 Jenny Nulf
    Saltburn
    In the end, Saltburn doesn’t have a lot to add to the conversation Fennell keeps wanting to have about the power of white men in this world. It’s a surface-level critique of the upper class and a style-over-substance poke at the out-of-touch aristocrats and the bitter have-nots.
    • 64 Metascore
    • 50 Jenny Nulf
    Your Lucky Day
    The heart is in the right place for Your Lucky Day, but the execution is a little loose. Brown puts a lot of tenderness in his film, particularly with the film’s central couple, but there’s not enough friction and surprise to create a tight holiday-set thriller.
    • 57 Metascore
    • 50 Jenny Nulf
    Dicks: The Musical
    It all seems as if it was a riot to film, but the finished product is just a few bombastic jokes stitched together to create a mid riff.
    • 50 Metascore
    • 67 Jenny Nulf
    It Lives Inside
    It Lives Inside at least isn’t just another mainstream horror weepy about grief – there’s a lot more that it’s playing around with, which is so refreshing in a time where horror is either extremely insane for the purposes of camp or about extremely damaged people who should just go to therapy. It’s nice to see a spooky movie that is having fun with a new box of tools.
    • 47 Metascore
    • 40 Jenny Nulf
    The Nun II
    The Nun II might be a slight step up from the slog that was The Nun, but that’s a low bar to creep up from.
    • 48 Metascore
    • 67 Jenny Nulf
    Gran Turismo
    Gran Turismo is perhaps a more basic film for Blomkamp, but a welcome reminder that his breakthrough first feature District 9 wasn’t a fluke. He manages to give a film that is more or less an ad for a video game a little bit of heart.
    • 48 Metascore
    • 40 Jenny Nulf
    Golda
    Golda isn’t a failure of skill, but one of vision. Nattiv and writer Nicholas Martin deliver a biopic that feels like a complete misfire. Stale and without any sense of self, Golda unfortunately does nothing for Israel’s only female prime minister.
    • 82 Metascore
    • 78 Jenny Nulf
    The Unknown Country
    The Unknown Country is a naturalistic exploration of America that’s hopeful of human connection in the midst of a country that sometimes feels hostile. It’s simplistic, but honest and true to Maltz and Gladstone’s optimism in the face of a place that sometimes bleeds hopelessness.
    • 45 Metascore
    • 50 Jenny Nulf
    Insidious: The Red Door
    Similar to Wan’s The Conjuring universe, Insidious has long overstayed its welcome, reaching the point where its spark has quelled and there’s nothing interesting buried within these characters anymore. We have reached the end of the Further.
    • 77 Metascore
    • 67 Jenny Nulf
    Every Body
    As an introductory lesson to what it means to be intersex, Every Body serves its purpose well enough, but there’s no bite to the storytelling, no immediate call to action.
    • 67 Metascore
    • 30 Jenny Nulf
    The Blackening
    The Blackening feels like a cash grab, a film so blatantly made because “horror is so hot right now.” There’s no love for the genre, and if you don’t admire something to some degree, it’s hard to properly satirize it.
    • 78 Metascore
    • 78 Jenny Nulf
    The Starling Girl
    Parmet’s ability to repackage a story that oftentimes can feel exploitative and gritty through a more mature and compassionate lens is quite sincere – a challenging film that’s worth the effort.
    • 43 Metascore
    • 40 Jenny Nulf
    To Catch a Killer
    Szifron and his co-writer Jonathan Wakeham play it too safe, creating an aggressively stale procedural that doesn’t pack the gut punch it wants to deliver.
    • 81 Metascore
    • 100 Jenny Nulf
    Godland
    The film itself is fictional, filmed in a 1.33:1 ratio to mimic the framing of the inspirational photographs. It’s 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.
    • 93 Metascore
    • 89 Jenny Nulf
    No Bears
    Iranian director Jafar Panahi’s feminist views have consistently been at the center of his work, but his latest film, No Bears, is an ambitious, powerful piece that puts himself in the center of two narratives, parallel to each other, in which two generations of women are forced into difficult situations because traditions and laws have made it almost impossible for them to be with who they love.
    • 81 Metascore
    • 78 Jenny Nulf
    Close
    Belgian filmmaker Lukas Dhont’s latest film Close is a devastatingly heavy watch, a delicately filmed tragedy that takes hold of your emotions and never lets go for the duration of its run time.
    • 77 Metascore
    • 89 Jenny Nulf
    Broker
    Kore-eda’s nonjudgmental approach to all his films is what makes him such an enticing auteur, and with Broker he brings what he excels at to a new destination with an all-star South Korean cast that really understands his material and delicate subtleties.
    • 76 Metascore
    • 89 Jenny Nulf
    All Quiet on the Western Front
    All Quiet on the Western Front is more grisly, disturbing, and sadistic than any horror movie in 2022.
    • 51 Metascore
    • 30 Jenny Nulf
    Whitney Houston: I Wanna Dance With Somebody
    The film retroactively makes Baz Luhrmann’s Elvis look like a masterpiece for actually trying to be bedazzling and insane, because Whitney Houston: I Wanna Dance With Somebody is so stale it might as well have been shoved directly onto a streaming platform to wither away forgotten – unlike Houston’s discography, which will be remembered for decades to come.
    • 60 Metascore
    • 40 Jenny Nulf
    The Whale
    Fraser often brings a warmth to Charlie that the film desperately needs, but his positivity is only an ember in a fire dying in the pouring rain.
    • 91 Metascore
    • 89 Jenny Nulf
    All the Beauty and the Bloodshed
    There’s a sharpness to Poitras’ filmmaking that’s remarkably powerful, a film that’s sure to leave one breathless as the credits roll, an utterly effective snapshot of a woman who has dedicated her life to those who deserve a louder voice. It’s a film that’s simply stunning.
    • 65 Metascore
    • 50 Jenny Nulf
    Good Night Oppy
    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.
    • 66 Metascore
    • 78 Jenny Nulf
    Causeway
    Causeway is at its most successful when the film is patient, giving the space to have its characters ruminate over how their past experiences don’t have to define their futures. It’s the kind of film that only succeeds with incredible performances to back it up, and Neugebauer achieves that with Lawrence and Henry guiding her film in such a touching, beautiful way.
    • 82 Metascore
    • 67 Jenny Nulf
    Dos Estaciones
    For years it feels like the upcoming tequila shortage has been whispered about. But with so many celebrities announcing their own tequila brands, sometimes it’s hard to grasp the dire situation many tequila plants are facing. Juan Pablo González’s film Dos Estaciones centers around this very real crisis, a subtle reflection on the political and environmental pressures Mexican-owned tequila factories are facing.
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