The King of Staten Island (2020)

The King of Staten Island is one of those rare comedies that earns its laughs the hard way—by letting its characters feel like real people with real bruises, then finding the humor that leaks out around the edges. Pete Davidson gives a surprisingly soulful, disarming performance, and Judd Apatow builds a shaggy, lived-in world where grief, arrested development, and small wins all sit at the same kitchen table. The vibe is loose and profane but also genuinely tender, with Marisa Tomei and Bill Burr bringing a grounded warmth that keeps the movie from turning into either a pity party or a punchline. It’s long and unapologetically R-rated, so it won’t be for everyone, but if you like funny movies that also sneak up and hit you somewhere honest, this one’s worth the trip.

The King of Staten Island is clearly trying to be a messy, semi-autobiographical coming-of-age story about grief, arrested development, and finally growing up, with Judd Apatow aiming for heart under all the weed smoke and deadpan jokes. The problem is it’s long and loose in a way that can feel indulgent, with pacing that wanders like it’s waiting for the movie to decide what it actually wants to say. If you struggle with protagonists who are passive, self-sabotaging, and not immediately likable, Pete Davidson’s Scott may test your patience before the film earns its emotional beats. That said, Marisa Tomei and Bill Burr bring genuine spark, and when it narrows in on family and healing, it does land—just don’t expect a tight comedy or a clean, satisfying arc.