Clarence Tsui

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For 54 reviews, this critic has graded:
  • 51% higher than the average critic
  • 5% same as the average critic
  • 44% lower than the average critic
On average, this critic grades 2.3 points lower than other critics. (0-100 point scale)

Clarence Tsui's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Dead Souls
Lowest review score: 10 The BreakUp Guru
Score distribution:
  1. Positive: 24 out of 54
  2. Negative: 5 out of 54
54 movie reviews
    • 73 Metascore
    • 80 Clarence Tsui
    Bolstered by lush imagery and, perhaps more importantly, immensely naturalistic performances from its non-professional child actors, the film conjures up a quietly heartbreaking drama that works on multiple levels. These nuances probably allowed Wang to elude the stringent demands of China's censors.
    • 80 Metascore
    • 80 Clarence Tsui
    With his nod to the sparse mise-en-scene of his mentor Hou Hsiao-hsien (who produced his first short film Huashin Incident) and the philosophical reflections embodied in the films of Edward Yang — there's also a certain, faint echo of A Brighter Summer Day in the narrative here — Z has proved that the spirit of the New Taiwan Cinema remains very much alive.
    • 73 Metascore
    • 50 Clarence Tsui
    Clocking in at just over an hour, Hill of Freedom is Hong Sang-soo's shortest feature film to date. And it's his most lightweight, as well, with the Korean auteur merely reshuffling his tried-and-trusted play on non-linear structure, camera movements and characterizations without offering anything decidedly new
    • 91 Metascore
    • 100 Clarence Tsui
    At once Panh's personal eulogy to the victims of this pogrom (around one-fifth of Cambodia's population perished during the Khmer Rouge's four-year reign of terror) and a subtly informative treatise about history and universal humanity, Graves Without A Name is at once emotionally overwhelming, visually ravishing and intellectually stimulating.
    • 81 Metascore
    • 90 Clarence Tsui
    Demanding attention, imagination and critical viewing from the audience, Chinese Portrait is nevertheless one for posterity.
    • tbd Metascore
    • 70 Clarence Tsui
    Savage rivals most mid-budget Euro-American wintry police actioners in its lush production values and slick execution of genre tropes. There are plenty of visceral thrills on offer in the dark and violent confrontations between a hard-boiled detective and a gang of cold-blooded robbers, as the action unfolds in impressively choreographed sequences on Changbai’s snow-covered slopes in northeastern China.
    • 86 Metascore
    • 80 Clarence Tsui
    Admittedly, Elephant is a heavy affair, but it’s not all doom and gloom. Hu's characters remain very real, and they are never shown as indulgent to the point of being above the banalities of everyday life. Barbed humor abounds, too, in matter-of-fact dialogue.
    • 33 Metascore
    • 40 Clarence Tsui
    Sadly for a story so fraught with desire and violence, Elisa & Marcela is painfully lacking in frisson and danger. Despite competent performances from her two young stars, Coixet fails to inject the girls’ relationship with complexity, tension and conflict. In the end, they are ciphers in a message-driven movie, which is made worse by contrived one-liners and gestures.
    • 89 Metascore
    • 100 Clarence Tsui
    Dead Souls is thoroughly focused and tightly structured. And it is an immensely perceptive piece about the history of China and its multitude of discontents.
    • 68 Metascore
    • 80 Clarence Tsui
    The veteran Philippine genre-meister's ultraviolent action blockbuster goes beyond easy moral binaries to highlight how Duterte's warped worldview has made monsters out of everyone from the police to the peddlers to the ordinary people in between, all of them doing the bloody bidding of a corrupt political class.
    • 43 Metascore
    • 70 Clarence Tsui
    Bleeding Steel is all about old-school thrills, and Zhang has delivered a wide range of them, from cafeteria catfights to expansive pyrotechnics — with not just one but two crotch-kicking gags thrown in for good measure.
    • 63 Metascore
    • 50 Clarence Tsui
    While the film is a much more powerful visual feast than the original Monster Hunt from two years ago, it offers little in terms of expanding the first film's themes or pushing the storyline significantly forward.
    • 69 Metascore
    • 80 Clarence Tsui
    Youth is a whirl of grand, dramatic gestures.
    • 55 Metascore
    • 60 Clarence Tsui
    While Brosnan has quite a few opportunities to show his acting chops, Chan makes do with less.... In any case, it’s good to see Chan swapping his happy-go-lucky persona for two hours for some gravitas as a tragic rogue with a marked past.
    • 82 Metascore
    • 80 Clarence Tsui
    Beyond the handful of obligatory escapades, gunfights and images of martyrdom, the film reveals itself as less a drama about extraordinary heroes than an illustration of life in a fallen city.
    • 52 Metascore
    • 50 Clarence Tsui
    Radiance remains mired in underwritten relationships that end up less emotionally engaging than they appear.
    • 54 Metascore
    • 50 Clarence Tsui
    While certainly lushly mounted, Two Women is at best a piece of dated heritage cinema, and at worst cliche-ridden pomp.
    • 73 Metascore
    • 80 Clarence Tsui
    Expanding her premise into a reflection on an artist's challenge in portraying reality, the director's By the Time It Gets Dark is a magical, melancholic ode to the intellectual's struggle against the forces of history.
    • 59 Metascore
    • 50 Clarence Tsui
    The Demon Strikes Back soldiers loudly along, alternating between high-octane, digitally enhanced skirmishes and the equally cacophonic bickering between the monk and the monkey.
    • 47 Metascore
    • 60 Clarence Tsui
    It's a throwback to Chan's wham-bam action comedies of the past, and a pretty effective one, too.
    • 42 Metascore
    • 40 Clarence Tsui
    The characters are ciphers, the narrative is dull and even the sights and sounds become numbingly bombastic after a while.
    • 72 Metascore
    • 80 Clarence Tsui
    Defying its somewhat generic-sounding title, Johnny Ma's gripping criminal thriller Old Stone deploys powerful performances and eerie imagery.
    • 88 Metascore
    • 90 Clarence Tsui
    Whereas there are still long takes aplenty, most of them startlingly exquisite, the film feels, for once, very urgent in relaying the faultlines of real Filipino history.
    • 83 Metascore
    • 100 Clarence Tsui
    The Woman Who Left is an immensely immersive and engaging tale about a wronged individual's grueling struggle between reconciliation and revenge.
    • 61 Metascore
    • 70 Clarence Tsui
    It's a gripping ride through the storm...with powerful imagery, a simple and accessible story and a stellar performance from Kim Yoon-seok.
    • 70 Metascore
    • 90 Clarence Tsui
    More than just mining the past, Jia Zhangke, A Guy from Fenyang is fuelled by an anxious look toward the future - not just Jia's, but also that of his profession and his people as China marches on to the state-controlled drumbeat of economic liberalism and tight political control.
    • 70 Metascore
    • 40 Clarence Tsui
    The film is surprisingly shoddy stylistically.
    • 38 Metascore
    • 50 Clarence Tsui
    Kwek's critical view of his home country is certainly there, burning brightly, but Unlucky Plaza should be considered a small step for a promising socially-conscious filmmaker trying to connect his fury with the right kind of art.
    • 58 Metascore
    • 60 Clarence Tsui
    Heneral Luna is a sturdy, stirring if perhaps sometimes simplistic historical epic about bravery and treachery in a country at war.
    • 67 Metascore
    • 60 Clarence Tsui
    The Nightingale is technically remarkable. Beyond its socio-political context, however, the film offers hardly anything inventive to the familiar generation-gap rite-of-passage dramedy.

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