For 120 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 7.1 points lower than other critics. (0-100 point scale)

Diego Costa's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Stranger by the Lake
Lowest review score: 0 Day of the Falcon
Score distribution:
  1. Positive: 57 out of 120
  2. Negative: 43 out of 120
120 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 49 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.
    • 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.
    • tbd Metascore
    • 25 Diego Costa
    Rarely leaves the realm of the obvious and the literal.
    • 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.
    • 33 Metascore
    • 25 Diego Costa
    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.
    • 37 Metascore
    • 25 Diego Costa
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
    • 44 Metascore
    • 25 Diego Costa
    Doug Langway's film is often too cheesy to, well, bear.
    • 45 Metascore
    • 25 Diego Costa
    Throughout, Sonja Bennett embodies slackness as an affectation, not a raw response to a culture of authenticity-killing productivity.
    • 51 Metascore
    • 25 Diego Costa
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 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.
    • 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.
    • 54 Metascore
    • 12 Diego Costa
    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.
    • 66 Metascore
    • 12 Diego Costa
    The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist.
    • 44 Metascore
    • 12 Diego Costa
    L!fe Happens wants us to believe its message is one of female independence and empowerment.
    • 43 Metascore
    • 12 Diego Costa
    Tammy Caplan and Joe Tyler Gold's film gives off the alienating feel of an inside joke that you miss in the off chance you're not part of the professional magic business.
    • 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.
    • 52 Metascore
    • 0 Diego Costa
    You know a film isn't going to be considered high art when the guy to your left at the press screening is a reporter from Extra and the guy to your right lets out a loud "That's awesome, man" after each scene.
    • 22 Metascore
    • 0 Diego Costa
    The film is a hybrid of a Lifetime movie focused on a "strong woman," a run-of-the-mill murder mystery, and a yogurt commercial from hell.
    • 31 Metascore
    • 0 Diego Costa
    This is didactic self-help drivel of the worst kind, as filmmaker Rupam Sarmah creates a return-to-the-origin narrative contaminated by what Kathryn Bond Stockton would surely call "kid Orientalism."
    • 1 Metascore
    • 0 Diego Costa
    For a film so bent on naturalizing the presumably hilarious incongruity of "the sexes," it sure features lots and lots of that site of horror: a naked male body. And for comedic purposes, of course.
    • 24 Metascore
    • 0 Diego Costa
    A Warrior's Heart is so inept at developing itself as a film that it hands in all of its devices to the soundtrack itself and becomes a music video.
    • Slant Magazine
    • 39 Metascore
    • 0 Diego Costa
    I'm not sure what part of Snowmen doesn't scream completely inappropriate, sentimental Manichean drivel.
    • 32 Metascore
    • 0 Diego Costa
    There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance.

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