Zhuo-Ning Su Movie Reviews & Previews - Rotten Tomatoes

Zhuo-Ning Su

Zhuo-Ning Su
Zhuo-Ning Su's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): The Film Stage

Movie Reviews Only

Rating T-Meter Title | Year Review
B No Score Yet Love Education (Xiang ai xiang qin) (2017) The way [Sylvia Chang] stages and cuts a scene, too mindful of getting the point across, often lacks imagination... Her level of directorial finesse aside, Chang's screenplay is quite lovely. ‐ The Film Stage
Read More | Posted Aug 3, 2018
B+ No Score Yet How to Breathe Underwater (2017) Fragmented, insistent, erratic, the way this film unfolds eventually becomes an approximation of post-modern city life itself.‐ The Film Stage
Read More | Posted Aug 3, 2018
B+ 100% Hostages (2017) Combines arthouse sensitivities, historical gravitas and good ol' action setpieces to highly satisfying results. ‐ The Film Stage
Read More | Posted Aug 3, 2018
B 92% The Road to Mandalay (2016) Even at its least convincing, The Road to Mandalay is a film firmly grounded in humanity and the many unpleasant truths about our world.‐ The Film Stage
Read More | Posted Aug 3, 2018
B No Score Yet Animals (Tiere) (2017) Animals, while overwrought with about 38 twists too many, duly entertains and dares to demand a great deal of its audience.‐ The Film Stage
Read More | Posted Aug 3, 2018
B+ No Score Yet Skins (2017) A pointedly shrill, singularly provocative exposé on our relationships to our bodies that will scar some minds, offend many sensibilities, and exhilarate all the rest of us.‐ The Film Stage
Read More | Posted Aug 3, 2018
B+ 100% The Bold, the Corrupt, and the Beautiful (2017) this sumptuously produced, meticulously plotted and deliciously acted cautionary tale provides a riotous, fun time. ‐ The Film Stage
Read More | Posted Aug 3, 2018
B No Score Yet Xiao Mei (2018) A heady take on urban anonymity that slowly grows on you, despite its consistent reluctance to engage.‐ The Film Stage
Read More | Posted Aug 3, 2018
B 47% The Dancer (La danseuse) (2016) The Dancer doesn't venture from patterns of traditional biopics far enough to be called inspired, but it delivers a spirited, fully committed portrayal that allows you to observe a quintessential artist from the outside in.‐ The Film Stage
Read More | Posted Aug 3, 2018
89% Mommy (2015) The film is altogether likable and tugs at heartstrings because it openly aims for them and, of Dolan's films to date, it's the most eager to please. But it underwhelms for the very same reasons.‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
No Score Yet Hin Und Weg (2014) Enjoyable for its pristine imagery, bookstore music and affecting idea. ‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
88% White God (2015) What you see then among the fluffy chaos on screen is, above all else, a wasted opportunity.‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
87% Winter Sleep (2014) Its intentions are admirable, but with an unrealistically wide aim and a compulsively verbal approach, the desperation a viewer feels when he checks to find there are still hours on the clock is also very real. ‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
94% Whiplash (2014) The terrific acting duo of Teller and Simmons infuses the lively antagonism between coach and pupil with practically combustible fuel.‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
72% American Sniper (2015) Despite the massive set pieces and deafening sound effects that go hand in hand with a war movie, it retains a feel of focused, graceful leanness that is a trademark of Eastwood and undeniably masterful.‐ Berlin Film Journal
Read More | Posted Aug 3, 2018
98% Phoenix (2015) This is a delicate, incisive, spellbinding movie from a filmmaking team with no reason to stop anytime soon.‐ Film International
Read More | Posted Aug 3, 2018
88% The Tribe (2015) Artistically challenging, topically provocative, stylistically assured, and an all-around daring, alluring, searing work of vision.‐ Film International
Read More | Posted Aug 3, 2018
93% Force Majeure (2014) Written, directed and performed with remarkable intelligence and empathy, it tickles, provokes, cooks up delicious tension throughout, even if all that steam can't seem to find the perfect outlet in the end for an appropriately volcanic burst.‐ Film International
Read More | Posted Aug 3, 2018
83% 10,000 Km (2015) Casts a universal spell and hits you on the most visceral level.‐ Film International
Read More | Posted Aug 3, 2018
82% Victoria (2015) For all its failings and divisive choices, this is a movie that wows... Beyond the sheer effort that went into enabling this unbroken optical illusion, both the director and his principal cast show unmistakable promise. ‐ Film International
Read More | Posted Aug 3, 2018
87% The Club (El Club) (2016) Ruthlessly dark and acidly funny.‐ Film International
Read More | Posted Aug 3, 2018
A- 100% An Elephant Sitting Still (Da xiang xi di er zuo) (2018) For a first-time director, the confidence and proficiency of Hu's cinematic expression astonishes.‐ The Film Stage
Read More | Posted Jul 10, 2018
B 81% Cocote (2018) Fans of fierce, challenging indigenous cinema rejoice. It's not every day that you see a film from and depicting the life in the Dominican Republic, let alone one as intriguing as Cocote.‐ The Film Stage
Read More | Posted Apr 3, 2018
A- 96% Foxtrot (2018) Thoughtful, melodic, and devastating.‐ The Film Stage
Read More | Posted Sep 7, 2017
C+ 95% Zama (2018) You might stumble upon brilliant insights amidst the confusion. The big picture, however, proves elusive.‐ The Film Stage
Read More | Posted Sep 2, 2017
B- 83% Mr. Long (Ryu san) (2017) As if Johnnie To suddenly decides to pay homage to Nancy Meyers.‐ The Film Stage
Read More | Posted Feb 16, 2017
C 74% Spoor (Pokot) (2017) Nothing about it screams gross ineptitude, but the universal below-averageness proves grating.‐ The Film Stage
Read More | Posted Feb 13, 2017
B 91% On Body and Soul (A Teströl és Lélekröl) (2018) A combination of Terrence Malick, Michel Gondry and Woody Allen with its mix of the meditative, fantastical and neurotic.‐ The Film Stage
Read More | Posted Feb 11, 2017
B+ 90% Hounds of Love (2017) There's no denying the level of craft and performance involved that probes human depravity so compellingly.‐ The Film Stage
Read More | Posted Feb 1, 2017
B+ 86% I Am Not Madame Bovary (2016) A genuinely funny, slyly observant diagnosis of contemporary China complete with lush, absurdist flair.‐ The Film Stage
Read More | Posted Nov 16, 2016
C- 50% Crosscurrent (Chang jiang tu) (2016) Crosscurrent represents quite a remarkable blunder considering how much effort and noble aspirations go to waste because its maker forgot to tell a good story first.‐ The Film Stage
Read More | Posted Oct 31, 2016
B 100% The Age of Shadows (2016) In short, mainstream audiences should get a kick out of this polished, often exciting patriotist drama.‐ The Film Stage
Read More | Posted Sep 9, 2016
B- 90% Frantz (2017) As enticing as it is to get lost in its dazzling sleight of hand, there's too little to be found at the end to enlighten or even satisfy.‐ The Film Stage
Read More | Posted Sep 5, 2016
B+ 99% The Wailing (Goksung) (2016) Visually speaking, the lurid spookfest is an absolute stunner.‐ The Film Stage
Read More | Posted May 25, 2016
B+ 83% Sweet Bean (An) (2016) A well-crafted mainstream effort with accessible emotions and that whiff of Kawase-que zen.‐ The Film Stage
Read More | Posted Feb 22, 2016
A 80% The Assassin (2015) The Assassin is a singular vision realized with absolute mastery of style and a lightness of touch that's to die for.‐ The Film Stage
Read More | Posted Feb 22, 2016
A- 87% Dheepan (2016) A muscularly directed dramatic thriller about the difficulties of starting over and the inevitability of violence.‐ The Film Stage
Read More | Posted Feb 22, 2016
C+ 70% The Wait (L'attesa) (2016) L'attesa evokes feelings associated with bereavement effectively but has nothing substantial to add to the whole psychology of loss.‐ The Film Stage
Read More | Posted Feb 21, 2016
B 68% The Danish Girl (2015) [An] earnestly told, splendidly visualized film that could please the masses but will likely electrify few.‐ The Film Stage
Read More | Posted Feb 21, 2016
B+ 89% The Clan (El Clan) (2016) The limitations of a biographical film are still palpable towards the end, but the pure, visceral satisfaction of seeing an exciting story expertly told cannot be denied.‐ The Film Stage
Read More | Posted Feb 21, 2016
B+ 89% A Bigger Splash (2016) A sweaty, kinetic, dangerously unpredictable ride of a film.‐ The Film Stage
Read More | Posted Feb 21, 2016
B+ 88% Afternoon (Na Ri Xia Wu) (2015) A fascinating look at the chemistry between the inspiration and the inspired.‐ The Film Stage
Read More | Posted Feb 21, 2016
A- 79% From Afar (Desde Allá) (2016) From Afar delivers an incisive, poignant, surgically precise character study that deals a fatal blow in one crisp, clean stab.‐ The Film Stage
Read More | Posted Feb 20, 2016
C+ 82% Mr. Six (Lao Pao Er) (2015) Plotted with limited imagination and directed with atypical flatness, Mr. Six features a strong central performance.‐ The Film Stage
Read More | Posted Feb 20, 2016
C+ 83% Les démons (The Demons) (2015) The result is something almost psychedelically meandering - or simply arbitrary and incoherent.‐ The Film Stage
Read More | Posted Feb 20, 2016
B 88% Neon Bull (Boi Neon) (2016) Cunningly ambivalent and stickily atmospheric, Neon Bull is an impressive exercise in style that further broadens the possibility of queer filmmaking.‐ The Film Stage
Read More | Posted Feb 20, 2016