Diego Semerene

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For 174 reviews, this critic has graded:
  • 40% higher than the average critic
  • 1% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 9.4 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 A Warrior's Heart
Score distribution:
  1. Positive: 83 out of 174
  2. Negative: 67 out of 174
174 movie reviews
    • 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.
    • 78 Metascore
    • 75 Diego Semerene
    Anne Fontaine's film is an allegory for women's condition more generally, in times of war or peace.
    • 65 Metascore
    • 75 Diego Semerene
    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 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.
    • 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.
    • 62 Metascore
    • 75 Diego Semerene
    The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
    • 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.
    • 58 Metascore
    • 63 Diego Semerene
    The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.
    • 72 Metascore
    • 63 Diego Semerene
    Catherine Corsini depicts feminists in lighthearted ways, at once humorously caricatured and sensitively human.
    • 79 Metascore
    • 63 Diego Semerene
    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.
    • 58 Metascore
    • 63 Diego Semerene
    The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.
    • 51 Metascore
    • 63 Diego Semerene
    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 Semerene
    The film works as a charming aesthetic exercise with its jerky camera and inadvertent cuts, as a contemplation on intergenerational female bonding.
    • 62 Metascore
    • 63 Diego Semerene
    It leaves room for a few flights of fancy where the lack of verisimilitude feels less like screenplay filler and more like unabashed poetic license.
    • 50 Metascore
    • 63 Diego Semerene
    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 Semerene
    Queen of the Sun is honey pornography with an activist heart.
    • 51 Metascore
    • 63 Diego Semerene
    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 Semerene
    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 Semerene
    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 Semerene
    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 Semerene
    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 Semerene
    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.
    • 81 Metascore
    • 63 Diego Semerene
    It's when Stephen Dunn dares to inhabit the how and not the what of queerness that Closet Monster feels authentic and deliciously strange.
    • 68 Metascore
    • 50 Diego Semerene
    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 Semerene
    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 Semerene
    Cargo can feel like a "film about human trafficking" from beginning to end.
    • 75 Metascore
    • 50 Diego Semerene
    The filmmakers aren't really interested in the space between what these women say and what they mean.
    • 36 Metascore
    • 50 Diego Semerene
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
    • 62 Metascore
    • 50 Diego Semerene
    The film's educational impetus is to announce to the world that even picture-perfect Norwegians continue to pay a heavy price for the horrors of WWII.
    • 41 Metascore
    • 50 Diego Semerene
    Shana Betz's too-insistent refusal to commit to the melodramatic or to the suspenseful only makes the film seem like empty dramatization.

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