Diego Semerene

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For 168 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 8.2 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 Day of the Falcon
Score distribution:
  1. Positive: 82 out of 168
  2. Negative: 63 out of 168
168 movie reviews
    • 75 Metascore
    • 38 Diego Semerene
    Its fatal mistake is to make up for blindness, instead of embracing it as something other than a liability.
    • 59 Metascore
    • 38 Diego Semerene
    The dialogue is so disaffected it's as if humans were replicants even before going through the aforementioned twin-making procedure.
    • 53 Metascore
    • 38 Diego Semerene
    Private Romeo feels more like a side project from the producers of Glee than some kind of novel queering of Shakespeare's text.
    • 44 Metascore
    • 38 Diego Semerene
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
    • 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.
    • 36 Metascore
    • 38 Diego Semerene
    The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
    • 19 Metascore
    • 25 Diego Semerene
    Taking the pedestrian and decidedly unsexy American male to Paris so he can become a sexual human being attuned to life's small pleasures is a tired device that perhaps only Woody Allen could possibly resurrect from the stinky pile of cinematic clichés.
    • 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.
    • 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.
    • 33 Metascore
    • 25 Diego Semerene
    If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
    • 52 Metascore
    • 25 Diego Semerene
    This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
    • 69 Metascore
    • 25 Diego Semerene
    Judging from The Sleeping Beauty, and the previous "Bluebeard," the provocations stop with the choice of the material, as the tone and style of these films are jarringly well-behaved.
    • 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.
    • 48 Metascore
    • 25 Diego Semerene
    What the film embodies, unfortunately, the listlessness of its slacker characters.
    • 56 Metascore
    • 25 Diego Semerene
    The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
    • 68 Metascore
    • 25 Diego Semerene
    It produces a collection of one-dimensional facts strung together with an utmost respect for chronology and documentary-making's most stale conventions.
    • 59 Metascore
    • 25 Diego Semerene
    Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood.
    • tbd Metascore
    • 25 Diego Semerene
    Rarely leaves the realm of the obvious and the literal.
    • 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.
    • 33 Metascore
    • 25 Diego Semerene
    This is kind of didactic topical movie that distributes its rhetoric evenly between characters with clear distinction as to who's playing devil's advocate to the other one's points.
    • 57 Metascore
    • 25 Diego Semerene
    Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
    • 37 Metascore
    • 25 Diego Semerene
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
    • 44 Metascore
    • 25 Diego Semerene
    Doug Langway's film is often too cheesy to, well, bear.
    • 45 Metascore
    • 25 Diego Semerene
    Throughout, Sonja Bennett embodies slackness as an affectation, not a raw response to a culture of authenticity-killing productivity.
    • 51 Metascore
    • 25 Diego Semerene
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 34 Metascore
    • 25 Diego Semerene
    The actors are left to go through the motions of a sterile script that director Dennis Lee tries to bring to life not through, for example, Watson's brilliant capacity for facial nuance, but through canned artifice.
    • 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.
    • 52 Metascore
    • 12 Diego Semerene
    The very few instances where stereotypes are challenged are forced and didactically delivered.
    • 25 Metascore
    • 12 Diego Semerene
    It's more interested in borrowing terminal cancer as a narrative shorthand for intensity than investigating it as a lived experience.
    • 56 Metascore
    • 12 Diego Semerene
    Justin Kelly's film is more interested in rushing through the narrative's events than contemplating their environment.

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