Zhuo-Ning Su

Zhuo-Ning Su
Tomatometer-approved critic

Movie Reviews Only

T-Meter Title | Year
99% Parasite (Gisaengchung) (2019) It is breathtaking to observe how Bong juggles the many different tones and themes in one, masterful piece of screenwriting. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
85% The Whistlers (2019) One must pay close attention at all times just to keep up, but for those who enjoy cracking movie puzzles, it's a hoot from start to finish. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
98% Portrait of a Lady on Fire (Portrait de la jeune fille en feu) (2019) It's an altogether quiet, understated affair that only betrays the fiery emotions burning underneath at the very end. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
79% A Hidden Life (2019) Malick's approach to profiling Jägerstätter is so far removed from the typical tropes of cinematic biographies to call it that seems to almost cheapen the effort. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
70% Little Joe (2019) Through clinically precise visual design, including expressive use of lighting and framing, Hausner is able to sustain an otherworldly atmosphere that evokes paranoia and dread. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
97% Pain and Glory (Dolor y gloria) (2019) It's a testament to the restraint and sheer evocative beauty of [Pedro Almodóvar's] writing that the film never resorts to cheap, sensationalistic plot devices. - Awards Daily EDIT
Read More | Posted Oct 28, 2019
95% The Climb (2020) Male friendship in its many forms is dissected and ruthlessly made fun of. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
89% Rocketman (2019) The movie not only does a fine job in finding the emotionally and narratively meaningful moments for the songs, but also reminds you what power lies in the magical combination of music and lyrics itself. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
93% And Then We Danced (2019) Perceptive, compassionate and above all necessary filmmaking. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
96% Atlantics (2019) The fantastical aspects of the film are left unexplained. They are not the point of the story, but serve as haunting reminders of something altogether wiser, grander. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
78% Les Misérables (2020) Thematically and stylistically it's nothing you haven't seen before, but the depictions of the mundane, subtly volatile quotidian are anchored by Ly's eye for authenticity. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
86% Deerskin (Le daim) (2019) It's often hilarious, consistently preposterous, yet somehow on a deep, human level, relatable as well. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
56% The Dead Don't Die (2019) I find its somber, apocalyptic tone a welcome surprise for a kick-driven genre offering such as this and an appropriate remark on the times we live in. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
No Score Yet Vanishing Days (Man you) (2019) It rises above its micro-budget production to evoke something ancient and grand. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
100% So Long, My Son (Di jiu tian chang) (2019) Written with a deep, judgment-free understanding of human nature, the screenplay depicts characters making shocking, despicable, perhaps even immoral decisions, but at no point do they seem the least bit implausible. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
94% Divine Love (2019) Whether you read it as satire, science fiction or admonitions about our increasingly totalitarian times, the film's concluding monologue is one of mystical profundity. Very provocative. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
93% Tremors (Temblores) (2019) A sobering, thoroughly riveting look at homosexuality within a devoutly religious, archconservative society. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
86% The Miracle of the Sargasso Sea (2019) An exhilarating exercise in genre filmmaking with legitimate dramatic aspirations. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
70% God Exists, Her Name Is Petrunija (2019) A fresh, potent spin on the issue of gender inequality reinforced by religion. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
80% Hellhole (2019) In the end, politics are nothing but the way we choose to treat one another, and Hellhole reminds you of that by giving our political zeitgeist a sad, familiar face. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
95% By the Grace of God (Grâce à Dieu) (2019) A fastidiously written, vigorously directed piece of news-based drama. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
80% 22 July (2018) Greengrass knows how to create a visceral cinematic experience. The way he shoots and cuts, so effortlessly dynamic and real, puts you right in the middle of the tragedy. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
61% Vox Lux (2018) A work of great style, sharp observations and unexpected tonal shifts... It confirms Corbet as a vital and genuinely special voice in filmmaking. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
80% At Eternity's Gate (2018) Besides Schnabel's truly poetic direction, Dafoe's reliably great performance and Benoît Delhomme's soulful photography deserve to be singled out. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
87% The Sisters Brothers (2018) By turns intense, hilarious and casually contemplative, it draws you in on the promise of simple thrills then wins you over with a sophisticated, all-around surprising ride. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
66% Suspiria (2018) In creating its own curious mix of history, supernaturalism, queerness and style, the film deserves to be celebrated as an original, truly fearless piece of cinema. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
64% The Mountain (2019) Think the meticulously manipulated, taxidermically inspired compositions of Roy Andersson with his Scandinavian humor substituted by David Lynch's brand of dread, and you get a pretty good idea what it's like to be sucked into The Mountain. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
90% A Star Is Born (2018) [Bradley Cooper] didn't disappoint. Delivering probably the most lived-in, carefully layered performance of his career, his Jackson is both a creature of charisma and self-pity. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
93% The Favourite (2018) Lusciously designed and featuring a trio of fiery female performances and some acidicly funny dialogue, it's a naughty crowdpleaser. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
96% Roma (2018) This is less a plot-driven film than a cinematic experience of being transported back in space and time. To a place in memory where anything can still be a marvel and the ordinary is sacred. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
87% First Man (2018) Chazelle demonstrates the rare skill of staging epic spectacles within a most intimate setting. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
95% Burning (Beoning) (2018) Lee's screenplay balances the drama and intrigue beautifully, suggesting fully the dangerous volatility of the heart while never stooping to easy, sensationalistic tricks. - Awards Daily EDIT
Read More | Posted Oct 23, 2019
70% Solo: A Star Wars Story (2018) Opening mid-action and never quite letting up, the latest entry in the Star Wars saga is a delightfully fast-paced romp with a twinkle in its eye. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
58% The House That Jack Built (2018) It's a savage, jaw-droppingly offensive portrait of a murderer that happens to also be vast, immaculately crafted, chillingly musical. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
99% Shoplifters (Manbiki kazoku) (2018) It's accessible, fluently told and packs an unexpected punch. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
96% BlacKkKlansman (2018) It's a joy to see someone with Lee's command of his craft let loose on a film. Like a jazz musician, he stages and edits the majority of scenes in Blackkklansman with electrifying spontaneity and flow. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
70% Climax (2019) Climax doesn't exactly have a point to make, but as an exercise in visceral filmmaking, it passes with flying colors. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
90% Happy as Lazzaro (Lazzaro felice) (2018) A great-looking film that dares to give a familiar sci-fi subgenre an ultrarealistic spin. It's a blessed feeling to be in the hands of such remarkable storytellers. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
94% Petra (2018) Wickedly written, smartly acted and expertly photographed, it's a treat for those who can stomach a higher level of perversity when watching their paternity dramas. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
92% Cold War (Zimna wojna) (2018) Kulig dazzles as the poised, fearless, unpredictable Zula. Like a little dynamite she's ready to light up any scene with the sheer force of her joy, rage or pain. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
97% Border (Gräns) (2018) This original and mercilessly intense fairy tale is simply unmissable. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
78% Leto (2019) What it lacks in discipline it makes up for with a whole lot of feelings. Pure, deep, preciously undefined feelings. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
96% Birds of Passage (Pájaros de verano) (2019) The raw authenticity of indigenous filmmaking, the arresting visual design that adds poetry to scenes of ritual and carnage, and a superb performance by Carmina Martinez... turn this age-old tale into something enchanted, haunting. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
78% Everybody Knows (Todos lo saben) (2019) Farhadi demonstrates once again human nature is the greatest puzzle of all. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
50% My Brother's Name Is Robert and He Is an Idiot (Mein Bruder heißt Robert und ist ein Idiot) (2018) Executed with such cold, slick precision, the images are likely to haunt you long after the credits rolled. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
100% Season of the Devil (Ang Panahon ng Halimaw) (2018) A form of cinematic expression so uniquely its own we probably don't have all the vocabulary to talk about it yet. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
83% Utøya: July 22 (Utøya 22. Juli) (2018) It's a sweat-inducing, heart-sinking type of visceral, immersive experience like you seldom get in cinemas. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
89% The Prayer (La prière) (2018) Even though there's nothing spectacular about the story, you're with these damaged characters and the very human struggles they face every step of the way. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
97% The Heiresses (Las Herederas) (2019) Directed with subtlety and a genuine affection for its protagonist, the film unfolds like a gentle dance, hitting notes of joy and regret without heavy-handed dramatics. - Awards Daily EDIT
Read More | Posted Oct 16, 2019
94% Transit (2019) A unique if not entirely successful take on Hitchcockian themes with political undertones. Lead actor Franz Rogowski, potentially the next big thing of European cinema, is wonderful to watch. - Awards Daily EDIT
Read More | Posted Oct 16, 2019