For 111 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 7.3 points lower than other critics. (0-100 point scale)

Diego Costa's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Beginners
Lowest review score: 0 Snowmen
Score distribution:
  1. Positive: 51 out of 111
  2. Negative: 40 out of 111
111 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 67 Metascore
    • 38 Diego Costa
    Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 38 Diego Costa
    Whatever predictable plot the film tries to unfold never lives up to the excitement of its conceptual gimmick.
    • 36 Metascore
    • 38 Diego Costa
    The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
    • 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.
    • 69 Metascore
    • 25 Diego Costa
    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.
    • 52 Metascore
    • 25 Diego Costa
    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.
    • 34 Metascore
    • 25 Diego Costa
    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.
    • 19 Metascore
    • 25 Diego Costa
    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 Costa
    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.
    • 37 Metascore
    • 25 Diego Costa
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
    • 20 Metascore
    • 25 Diego Costa
    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.
    • 45 Metascore
    • 25 Diego Costa
    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.
    • 44 Metascore
    • 25 Diego Costa
    Doug Langway's film is often too cheesy to, well, bear.
    • 50 Metascore
    • 25 Diego Costa
    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.
    • 51 Metascore
    • 25 Diego Costa
    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
    • 25 Diego Costa
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 68 Metascore
    • 25 Diego Costa
    It produces a collection of one-dimensional facts strung together with an utmost respect for chronology and documentary-making's most stale conventions.
    • 33 Metascore
    • 25 Diego Costa
    If the film defies conventional form, it does so without the gravitas that conceptual cohesion brings, quickly rendering its experimentation into gratuitous aesthetic masturbation.
    • 37 Metascore
    • 12 Diego Costa
    One of the film's main problems is the fact that Shlain is so invested in connecting her father's scientific findings... with an astonishingly linear history of the world that she fails to see the more private connections that flicker in and out of her verbose voiceover.

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