Diego Semerene

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For 189 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 10 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Elle
Lowest review score: 0 In Search of God
Score distribution:
  1. Positive: 88 out of 189
  2. Negative: 76 out of 189
189 movie reviews
    • 35 Metascore
    • 50 Diego Semerene
    The film's moral lesson is too contradictory to be taken seriously.
    • 54 Metascore
    • 88 Diego Semerene
    A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court.
    • 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.
    • 32 Metascore
    • 0 Diego Semerene
    There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance.
    • 49 Metascore
    • 50 Diego Semerene
    It's as though the director, like his subjects, was too comfortable in the safe familiarity of the surface to find the place where it betrays us.
    • 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.
    • 36 Metascore
    • 50 Diego Semerene
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
    • 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.
    • 51 Metascore
    • 25 Diego Semerene
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 66 Metascore
    • 12 Diego Semerene
    The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist.
    • 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.
    • 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.
    • 49 Metascore
    • 25 Diego Semerene
    A Man's Story does a major disservice to an artiste of fashion with a pretty amazing and prolific oeuvre by reducing him to a Bravo-like personality - a personality whose pettiness Boateng's work, though perhaps not his ego, clearly exceeds.
    • 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.
    • 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.
    • 67 Metascore
    • 38 Diego Semerene
    Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
    • 62 Metascore
    • 75 Diego Semerene
    The film is at its best when it lingers on intimacy and the characters' incompetency to manage it.
    • 50 Metascore
    • 25 Diego Semerene
    There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.
    • 44 Metascore
    • 25 Diego Semerene
    Doug Langway's film is often too cheesy to, well, bear.
    • 69 Metascore
    • 88 Diego Semerene
    The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.
    • 54 Metascore
    • 12 Diego Semerene
    The film has, at its source, a pool of affectations that so often constitute, or plague, American indie films--and, perhaps, American culture more generally.
    • 44 Metascore
    • 38 Diego Semerene
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
    • 45 Metascore
    • 25 Diego Semerene
    As hard as he tries, we never truly believe there's a lot at stake for Garner, who seems to cruise through America like a gringo taking a favela tour in Rio.
    • 20 Metascore
    • 25 Diego Semerene
    While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
    • 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.
    • 37 Metascore
    • 25 Diego Semerene
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
    • 65 Metascore
    • 88 Diego Semerene
    Cristián Jiménez's film knows how entangled the will to know is with the will to make love.
    • 40 Metascore
    • 25 Diego Semerene
    Having the far from goody-goody Kathleen Turner play a holier-than-thou mother bent on winning a devout church title is an inherently hilarious premise.
    • 64 Metascore
    • 88 Diego Semerene
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 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.

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