For 118 reviews, this critic has graded:
  • 41% higher than the average critic
  • 1% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 6.7 points lower than other critics. (0-100 point scale)

Diego Costa's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Stranger by the Lake
Lowest review score: 0 Day of the Falcon
Score distribution:
  1. Positive: 56 out of 118
  2. Negative: 42 out of 118
118 movie reviews
    • 67 Metascore
    • 75 Diego Costa
    An over-the-top Russian musical about hipsters set in 1950s Moscow, where getting a non-pastel-colored tie is a mafia-mediated operation and a saxophone is considered a concealed weapon? Yes, please.
    • 52 Metascore
    • 75 Diego Costa
    The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter.
    • tbd Metascore
    • 75 Diego Costa
    The juxtaposition between the gorgeous natural beauty of a remote beach with the stubborn human need to escape somewhere, no matter what cost, is what really enthralls in the film.
    • 80 Metascore
    • 75 Diego Costa
    The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
    • 77 Metascore
    • 75 Diego Costa
    For its general ludic obsession with all things generally thought of as disgusting, the German film Wetlands is stuck in the anal stage.
    • 81 Metascore
    • 75 Diego Costa
    This is a film about the invisible things passed down from generation to generation, that nasty inheritance that cages us into patterns and puzzles we try to solve in someone else's name.
    • 65 Metascore
    • 75 Diego Costa
    It often seems more intent on spelling out its awareness of the politics involved than in lingering on the aching human engaged in the libidinal transactions.
    • 57 Metascore
    • 75 Diego Costa
    Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
    • 67 Metascore
    • 75 Diego Costa
    The film refuses to tease us with suspense, overwhelm us with sentimentality, or defy us with nuance.
    • 62 Metascore
    • 75 Diego Costa
    It suggests that a disease isn't a product of one single person's body, but the eruption of an entire family history of unarticulated desire.
    • 65 Metascore
    • 75 Diego Costa
    What's easy to appreciate in the documentary, however, is the way it reassembles the Dzi Croquettes' trajectory without polishing off its jagged edges. It's through their brilliance and their flaws that they become muses.
    • 66 Metascore
    • 75 Diego Costa
    The film is at its finest as a catalogue of Yossi's unspoken ache, less so when it begins to flirt with the clichés of the love story.
    • 59 Metascore
    • 75 Diego Costa
    Lee Isaac Chung's film exudes a wonderful sense of originality, a daring and organic playfulness rarely found in American indie cinema.
    • 62 Metascore
    • 75 Diego Costa
    The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
    • 60 Metascore
    • 75 Diego Costa
    Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family.
    • 79 Metascore
    • 63 Diego Costa
    An exposé of how the financial structures that make businesses possible in America seem to conspire against genuine good will and non-self-serving ambition.
    • 51 Metascore
    • 63 Diego Costa
    It's the moments when director Alan Brown stops worrying about clarifying plot and character motivation and lets the performances bring those into being that makes this an authentic project.
    • 74 Metascore
    • 63 Diego Costa
    The film works as a charming aesthetic exercise with its jerky camera and inadvertent cuts, as a contemplation on intergenerational female bonding.
    • 50 Metascore
    • 63 Diego Costa
    The unconventional choice of extra-curricular activity for Luz sheds light onto the strange sport of powerlifting, in which teen girls are constantly weighed and sometimes told that they have 40 minutes to get three pounds off their bodies so they can compete.
    • 67 Metascore
    • 63 Diego Costa
    Queen of the Sun is honey pornography with an activist heart.
    • 51 Metascore
    • 63 Diego Costa
    At the very least, The Pill could have been a pleasant exercise in screenwriting sharpness if Fred and Mindy's situation had been confined and (un-)resolved within the confines of its very promising first scene.
    • 51 Metascore
    • 63 Diego Costa
    It's Jonathan Caouette's insistence in going back to his nightmarish old footage, or the old footage that he purposefully renders nightmarish, that seems more interesting.
    • 67 Metascore
    • 63 Diego Costa
    It finds its strength in painting a portrait of Brazilian heterosexual gender relations as an always-volatile symbiosis between feminine hysteria and ruthless machismo.
    • 48 Metascore
    • 63 Diego Costa
    It chooses the delicateness of a fable instead of the narrative recklessness we've come to expect from Bruce La Bruce.
    • 50 Metascore
    • 63 Diego Costa
    Director Casper Andreas does a good job conserving a simultaneous sense of disgust and attraction for the way big-city dreams end up stripping off wannabes from everything but their bodies.
    • 65 Metascore
    • 63 Diego Costa
    Mahdi Fleifel's usage of a domestic archive of home-video images inherited from his father lends the doc a simultaneous sense of historical gravitas and intimacy.
    • 68 Metascore
    • 50 Diego Costa
    The Ballad of Genesis and Lady Jaye tries so hard to keep up with the quirkiness and theatricality of its subjects that it ends up canceling them out.
    • 51 Metascore
    • 50 Diego Costa
    Sassy Pants has a slightly ludic atmosphere akin to another tale of teen alienation, Dear Lemon Lima, but it unfolds like a fable in which only Bethany doesn't feel like a canned caricature.
    • 47 Metascore
    • 50 Diego Costa
    Cargo can feel like a "film about human trafficking" from beginning to end.
    • 36 Metascore
    • 50 Diego Costa
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.

Top Trailers