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Weiting Liu

Tomatometer-approved critic
Biography:

Weiting Liu is a film critic and film festival programmer based in NYC. In her reviews, she combines her passion for film criticism with her identity as a Chinese woman living in America. She also writes about onscreen representations of race, gender, and intersectionality. Besides criticism, her curatorial works are dedicated to CineCina, a NYC-based Chinese film festival that distributes and exhibits Chinese cinema in North America.

Reviews

Movies 온라인카지노추천 Shows
The Black Sea (2024) 92% “As we’ve seen many American characters going to other countries to “find themselves,” Khalid develops a truly equal relationship with Bulgaria and its people and eventually does find himself.” – The Brooklyn Rail Jan 31, 2025 Full Review Anora (2024) 93% B- “Anora brilliantly demonstrates how gender and class intersect in one character.” – Mediaversity Reviews Dec 1, 2024 Full Review The Room Next Door (2024) 81% B “The Room Next Door portrays disability with sensitivity and respect, never turning illness into a spectacle.” – Mediaversity Reviews Nov 19, 2024 Full Review Look Into My Eyes (2024) 91% “What we as humans universally want regardless of fame or anonymity: to not feel alone in our pain, to have what we deserve—and that everything is going to be okay.” – The Brooklyn Rail Nov 4, 2024 Full Review A First Farewell (2018) 100% A “From the children’s innocent perspectives of their separation from a dear friend, this film is an essential and emotional viewing experience.” – InSession Film Jul 15, 2024 Full Review Monkey Man (2024) 89% B “Monkey Man leans on tropes about women, but its inclusion of marginalized hijras works brilliantly.” – Mediaversity Reviews Apr 9, 2024 Full Review Brief History of a Family (2024) 92% “A genre-bending coming-of-age thriller, the film finds an unforeseen angle to dig up the subdued intergenerational psyche shaped by China’s one-child policy.” – The Brooklyn Rail Apr 5, 2024 Full Review The Last Year of Darkness (2023) 100% “It's genuinely Chengdu, where its hedonism feels blasé, its nihilism glamorous.” – JoySauce.com Mar 26, 2024 Full Review Love Lies Bleeding (2024) 94% A- “While Love Lies Bleeding has a small cast, precluding a wide assortment of diverse characters, it digs deep into the development of one lesbian couple.” – Mediaversity Reviews Mar 7, 2024 Full Review Freaky Tales (2024) 74% C+ “Freaky Tales paints an inspirational picture of Black-Korean solidarity in Oakland.” – Mediaversity Reviews Feb 8, 2024 Full Review Aviva (2020) 83% “Aviva and Eden’s dances — together and apart — mobilize Yakin’s film, and function as bodily mirrors and emotional mirages; gain and loss, self and love.” – Vague Visages Feb 7, 2024 Full Review Are You There God? It's Me, Margaret. (2023) 99% 4/5 “Craig’s humane rendition of the God-and-Margaret fable gets back to the basics and continues to matter against waves of regressive policymaking.” – Little White Lies May 17, 2023 Full Review Problemista (2023) 86% A- “Alejandro’s financial stress—and existential dread—as he waits to get a visa sponsorship could just as easily have been my own.” – Mediaversity Reviews Apr 15, 2023 Full Review Bottoms (2023) 91% A- “With Seligman behind the camera as an openly bisexual filmmaker, Bottoms takes full advantage of the chaotic fun found in the sex comedy genre to show how teens today experiment with gender and dating.” – Mediaversity Reviews Apr 4, 2023 Full Review Flamin' Hot (2023) 67% “Writers Linda Yvette Chávez and Lewis Colick dramatize Montañez’s autobiography for the big screen with cohesion and clarity, while Longoria flexes her directorial muscles with technical flair and genre transformations.” – Little White Lies Mar 21, 2023 Full Review I Used to be Funny (2023) 83% “Sennott is perfectly cast, portraying Sam as simultaneously lifeless and hilarious with her default blasé attitude and dry-wit humor.” – Little White Lies Mar 17, 2023 Full Review She Said (2022) 88% B+ “Despite the irony of a self-congratulatory Hollywood production, She Said succeeds in portraying survivors as multidimensional women.” – Mediaversity Reviews Dec 8, 2022 Full Review Armageddon Time (2022) 76% C- “Armageddon Time’s autobiographical nature should not be a pass for crafting hollow Black and female characters.” – Mediaversity Reviews Nov 7, 2022 Full Review Walk Up (2022) 97% “Without leaving his comfort zone, Hong expands the margins of his repertoire just a little bit more in this film anchored by a new theme of an artist’s incompatibility with domesticity.” – Little White Lies Oct 10, 2022 Full Review Girls Can't Surf (2020) 100% 3/5 “A simultaneous celebration and subversion of popular surfing culture, Girls Can’t Surf makes for a dynamic cinematic experience, celebrating the real badasses and unsung heroes of the sport: women.” – Empire Magazine Aug 18, 2022 Full Review Everything Everywhere All at Once (2022) 94% 5/5 “An all-encompassing, therapeutic Asian American film for us who build our identities around and seek to heal from cinema.” – Little White Lies May 9, 2022 Full Review The Unbearable Weight of Massive Talent (2022) 87% B- “Olivia and daughter Addy exert clear-cut boundaries and avoid the gendered pitfall of having to "fix" the man in their lives.” – Mediaversity Reviews Apr 22, 2022 Full Review Bodies Bodies Bodies (2022) 86% 4/5 “In the end, its humours work even better than its frights.” – One Room With A View Apr 1, 2022 Full Review Good Luck to You, Leo Grande (2022) 94% 4/5 “Our voyeur into two individuals’ candid exchanges of shame and chaos is redirected towards its end on a positive note of intimacy and positivity -- an onscreen manifesto of loving being human and loving being women.” – One Room With A View Mar 22, 2022 Full Review After Yang (2021) 89% B+ “Kogonadas After Yang leaves us with a viscerally Asian American experience that few other filmmakers could put on screen.” – Mediaversity Reviews Mar 9, 2022 Full Review
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