Diego Semerene

Select another critic »
For 165 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 8.4 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Tomboy
Lowest review score: 0 10 Rules for Sleeping Around
Score distribution:
  1. Positive: 80 out of 165
  2. Negative: 62 out of 165
165 movie reviews
    • 37 Metascore
    • 75 Diego Semerene
    W.E.'s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see.
    • 57 Metascore
    • 75 Diego Semerene
    Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
    • 74 Metascore
    • 75 Diego Semerene
    Hovering over the narrative is the fear of the domino effect that change can enact, the dread that one person's "queerness" may perhaps expose everyone else's.
    • 48 Metascore
    • 75 Diego Semerene
    While We the Party can be insensitive, or blind, to the misogyny and homophobia of the general culture (the token gay teen is a finger-snapping, head-bobbing fashionista), it takes the issues of race and class quite seriously.
    • tbd Metascore
    • 75 Diego Semerene
    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.
    • tbd Metascore
    • 75 Diego Semerene
    While this uncataloguable and entrancing film gazes back in nostalgia to a time of performance-art priapism when everyone seems to have known Warhol, it also leaves room for a particularly hopeful diagnosis of the present.
    • tbd Metascore
    • 75 Diego Semerene
    A lighthearted critique on the fetishized notion of the "non-actor," the ethics (or lack thereof) of the "docudrama," and the packaging of national despair for exportation.
    • 62 Metascore
    • 75 Diego Semerene
    The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
    • 52 Metascore
    • 75 Diego Semerene
    The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter.
    • 60 Metascore
    • 75 Diego Semerene
    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.
    • 66 Metascore
    • 75 Diego Semerene
    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.
    • 65 Metascore
    • 75 Diego Semerene
    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.
    • 82 Metascore
    • 75 Diego Semerene
    The documentary is committed not to some pseudo-factual documentary tradition, but to a more engaging realist poesis.
    • 80 Metascore
    • 75 Diego Semerene
    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.
    • 59 Metascore
    • 75 Diego Semerene
    Lee Isaac Chung's film exudes a wonderful sense of originality, a daring and organic playfulness rarely found in American indie cinema.
    • 51 Metascore
    • 75 Diego Semerene
    It's to Carine Roitfeld's own credit and director Fabien Constant's funky and frenetic pacing that the doc feels neither like a corporate hagiography nor like mere fashionista masturbation material.
    • tbd Metascore
    • 75 Diego Semerene
    Filmmaker Juan Manuel Echavarría's hands-off approach hinders us from mocking the believers' naïveté.
    • 74 Metascore
    • 75 Diego Semerene
    The documentary not only humanizes Ingmar Bergman as the absent lover-cum-father of everyday life, but works as a priceless oral history of cinema.
    • 80 Metascore
    • 75 Diego Semerene
    Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.
    • 75 Metascore
    • 75 Diego Semerene
    Driven by a no-nonsense ethos, the film avoids sentimentality the same way its main character avoids sentiment.
    • 56 Metascore
    • 75 Diego Semerene
    Though it begins with the aesthetic and conceptual rigor of Blade Runner, it quickly veers toward the gratuitous outlandishness of a Bruce La Bruce film.
    • 81 Metascore
    • 75 Diego Semerene
    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.
    • 77 Metascore
    • 75 Diego Semerene
    For its general ludic obsession with all things generally thought of as disgusting, the German film Wetlands is stuck in the anal stage.
    • 67 Metascore
    • 75 Diego Semerene
    The film refuses to tease us with suspense, overwhelm us with sentimentality, or defy us with nuance.
    • 73 Metascore
    • 75 Diego Semerene
    Desiree Akhavan's tale of queer post-breakup funk shows more nuance, and racial dimension, than its cinematic cousins.
    • 63 Metascore
    • 75 Diego Semerene
    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.
    • 68 Metascore
    • 75 Diego Semerene
    The film's denouement is at once shocking and organic because it echoes a well-paced but nasty children's fable.
    • 73 Metascore
    • 75 Diego Semerene
    It exploits the military aesthetics that lend themselves so well to breathtaking sounds and visuals without fetishizing them.
    • tbd Metascore
    • 75 Diego Semerene
    Caetano Gotardo's triptych of short tales features a sense of experimentation and poetic license mostly seen in European cinema.
    • 63 Metascore
    • 75 Diego Semerene
    Writer-director Alanté Kavaité's film is a string of softly weaved pictorial metaphors steeped in reverie.

Top Trailers