For 122 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 7.6 points lower than other critics. (0-100 point scale)

Diego Costa's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Stranger by the Lake
Lowest review score: 0 Day of the Falcon
Score distribution:
  1. Positive: 57 out of 122
  2. Negative: 45 out of 122
122 movie reviews
    • 36 Metascore
    • 50 Diego Costa
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
    • 62 Metascore
    • 50 Diego Costa
    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 Costa
    Shana Betz's too-insistent refusal to commit to the melodramatic or to the suspenseful only makes the film seem like empty dramatization.
    • 34 Metascore
    • 50 Diego Costa
    The tension between the amateurish interviewer and the star interviewees gives the documentary a layer of authenticity that its otherwise formulaic structure and storytelling fail to find.
    • 49 Metascore
    • 50 Diego Costa
    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.
    • 48 Metascore
    • 50 Diego Costa
    Autoerotic's take on the me-me-me generation's inability for actual contact seems appropriate, but it lacks the nuance that makes "Denise Calls Up" so delicious to watch.
    • tbd Metascore
    • 50 Diego Costa
    While The First Rasta never goes beyond the surfaces of conventional documentary making of the most average kind, its reticence becomes whimsical every time the elderly interviewees break into song soon after reminiscing.
    • 66 Metascore
    • 50 Diego Costa
    The extreme largesse of Anselm Kiefer's project, his radical certainties and devotion, all call for a more intrusive probing.
    • 65 Metascore
    • 50 Diego Costa
    Juliette Binoche's face, as we know, can tell a million stories in a simple and brief rearrangement of her facial muscles.
    • tbd Metascore
    • 50 Diego Costa
    The film only feels interesting when it focuses on looking at what the characters aren't doing and listening to what they aren't saying.
    • 62 Metascore
    • 50 Diego Costa
    In Joe Swanberg's disaffected little film, the drama is never explicit, or even fully conscious.
    • 69 Metascore
    • 50 Diego Costa
    Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
    • 54 Metascore
    • 50 Diego Costa
    It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
    • 64 Metascore
    • 50 Diego Costa
    It botches itself out of its own epic ambitions, an aesthetic slickness that seems to contradict, if not betray, its subject matter, and a maddeningly subdued critical spirit.
    • tbd Metascore
    • 50 Diego Costa
    The figure of the poor white girl whose sex work is justified by a really noble cause, set of circumstances or sheer charisma, is, of course, not a new cinematic premise.
    • 35 Metascore
    • 50 Diego Costa
    The film's moral lesson is too contradictory to be taken seriously.
    • 58 Metascore
    • 50 Diego Costa
    The film never explores the depths and nuances that could actually place Jobriath in conversation with figures who came after him, however reductively.
    • 33 Metascore
    • 38 Diego Costa
    The film is, like its main character, too naïve to understand or, at least, to deploy the reparative powers of camp.
    • 44 Metascore
    • 38 Diego Costa
    Bruno Barreto's insistence that this pass for a product that Hollywood might have spawned smoothens a journey built on sharp edges.
    • 73 Metascore
    • 38 Diego Costa
    The film is simply too conscious of its form and its global-market ambitions to ever feel honestly interested in the themes it purports to cherish.
    • 50 Metascore
    • 38 Diego Costa
    Hood to Coast mostly suffers from an incessant soundtrack that stuffs the film with a peppiness that blocks the tragedy of its characters from view, as well as their overcoming it.
    • 34 Metascore
    • 38 Diego Costa
    Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
    • 36 Metascore
    • 38 Diego Costa
    For a film so proud of its trail-blazing status ("the first 3D erotic movie"), 3d Sex and Zen is certainly driven by the same good old symptoms.
    • 58 Metascore
    • 38 Diego Costa
    Whatever predictable plot the film tries to unfold never lives up to the excitement of its conceptual gimmick.
    • 57 Metascore
    • 38 Diego Costa
    In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
    • 57 Metascore
    • 38 Diego Costa
    It's difficult to swallow the premise of yet another tale of a heroic white Westerner with good intentions trying to give hope to Middle-Eastern misery.
    • 61 Metascore
    • 38 Diego Costa
    A shallow film that leaves us knowing exactly what we're seeing, and able to predict what the characters will say to each other in the mostly uninspired and overtly familiar dialogue.
    • 59 Metascore
    • 38 Diego Costa
    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 Costa
    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 Costa
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.

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