The King of Staten Island
- warm
- brisk
- inventive
Scott has been a case of arrested development ever since his firefighter father died when he was seven. He's now reached his mid-20s having achieved little, chasing a dream of becoming a tattoo artist that seems far out of reach. As his ambitious younger sister heads off to college, Scott is still living with his exhausted ER nurse mother and spends his days smoking weed, hanging with the guys — Oscar, Igor and Richie — and secretly hooking up with his childhood friend Kelsey. But when his mother starts dating a loudmouth firefighter named Ray, it sets off a chain of events that will force Scott to grapple with his grief and take his first tentative steps toward moving forward in life.
Our read · The King of Staten Island (2020) reads as a warm, kinetic, inventive comedy · drama entry — measured in intensity, mid-stakes in scope, measured in temperature, ambivalent in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
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The shape of The King of Staten Island
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Geometric closeness in the twelve-axis space — pure DNA distance, not “people also liked.” Distance numbers are listed under each title for sceners who like to know the maths.
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