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 Beginners
Lowest review score: 0 Snowmen
Score distribution:
  1. Positive: 56 out of 118
  2. Negative: 42 out of 118
118 movie reviews
    • 81 Metascore
    • 100 Diego Costa
    One of the most distinct pleasures of Beginners is the way it puts together fragments of someone's life-presumably the filmmaker's, although little does it matter-with humility, and without vying for some complete whole.
    • 74 Metascore
    • 100 Diego Costa
    Tomboy is one of those little big films whose simplicity and concision suggest the excess of meaning that language (cinematic or otherwise) could never account for.
    • 82 Metascore
    • 100 Diego Costa
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
    • 54 Metascore
    • 88 Diego Costa
    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.
    • 80 Metascore
    • 88 Diego Costa
    Cruising for Alain Guiraudie seems to be the way of nature, a drive that doesn't discriminate.
    • 64 Metascore
    • 88 Diego Costa
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 57 Metascore
    • 88 Diego Costa
    It's a quiet thud of a film, which embraces, with grace and precision, the nastiness of growing up with desire stuck in one's throat like a muffled scream.
    • 78 Metascore
    • 88 Diego Costa
    Mitra Farahani rescues the doc from becoming a talking-head fest by embracing her creative self as a character and exposing the travails of her own authorship process.
    • 79 Metascore
    • 88 Diego Costa
    The pleasure in watching the film becomes a linguistic one as Juliette Binoche and Kristen Stewart masterfully sharpen their words and hurl them at each other like projectiles out of a blowpipe.
    • 71 Metascore
    • 88 Diego Costa
    Elite Squad: The Enemy Within is pure pedagogic bliss.
    • 69 Metascore
    • 88 Diego Costa
    The film captures Vreeland's perhaps unwitting philosophical integrity just as much as it drowns us in the exuberance of her work.
    • 72 Metascore
    • 88 Diego Costa
    We experience the delay of the fantasy of the happy old couple in their country home in cinematic time as, for most of the film, the only body these lovers have is the spellbinding combination of visual fragments serving as apparitions to their voices.
    • 65 Metascore
    • 88 Diego Costa
    It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
    • 71 Metascore
    • 88 Diego Costa
    Slavoj Žižek manages to explain some of Lacanian psychoanalysis's most inscrutable notions with disarming clarity and infectious urgency.
    • 65 Metascore
    • 88 Diego Costa
    Cristián Jiménez's film knows how entangled the will to know is with the will to make love.
    • 48 Metascore
    • 75 Diego Costa
    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.
    • 58 Metascore
    • 75 Diego Costa
    Rampling is very much aware of the camera's every intention and possibility. Perhaps too aware, like the kind of over-educated narcissist for whom real spontaneity is too costly a risk.
    • 74 Metascore
    • 75 Diego Costa
    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.
    • 51 Metascore
    • 75 Diego Costa
    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.
    • 82 Metascore
    • 75 Diego Costa
    The documentary is committed not to some pseudo-factual documentary tradition, but to a more engaging realist poesis.
    • tbd Metascore
    • 75 Diego Costa
    Going back to the scene of trauma is a familiar Latin American strategy for dealing with its wars and dictatorships through art, but The Tiniest Place takes a disturbingly literal approach to such wound-scratching homecoming.
    • 37 Metascore
    • 75 Diego Costa
    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.
    • tbd Metascore
    • 75 Diego Costa
    Filmmaker Juan Manuel Echavarría's hands-off approach hinders us from mocking the believers' naïveté.
    • tbd Metascore
    • 75 Diego Costa
    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.
    • 75 Metascore
    • 75 Diego Costa
    Driven by a no-nonsense ethos, the film avoids sentimentality the same way its main character avoids sentiment.
    • 74 Metascore
    • 75 Diego Costa
    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.
    • tbd Metascore
    • 75 Diego Costa
    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.
    • 80 Metascore
    • 75 Diego Costa
    Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.
    • 56 Metascore
    • 75 Diego Costa
    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.
    • 73 Metascore
    • 75 Diego Costa
    Desiree Akhavan's tale of queer post-breakup funk shows more nuance, and racial dimension, than its cinematic cousins.

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