Diego Semerene

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For 191 reviews, this critic has graded:
  • 39% higher than the average critic
  • 1% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 10.1 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: 88 out of 191
  2. Negative: 77 out of 191
191 movie reviews
    • 64 Metascore
    • 88 Diego Semerene
    Filmmakers Laura Amelia Guzmán and Israel Cárdenas have crafted a beautiful tale of alienation, solitude, and existential anxiety.
    • 50 Metascore
    • 63 Diego Semerene
    Director Casper Andreas does a good job conserving a simultaneous sense of disgust and attraction for the way big-city dreams end up stripping off wannabes from everything but their bodies.
    • tbd Metascore
    • 75 Diego Semerene
    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.
    • 44 Metascore
    • 12 Diego Semerene
    L!fe Happens wants us to believe its message is one of female independence and empowerment.
    • tbd Metascore
    • 75 Diego Semerene
    The juxtaposition between the gorgeous natural beauty of a remote beach with the stubborn human need to escape somewhere, no matter what cost, is what really enthralls in the film.
    • 48 Metascore
    • 75 Diego Semerene
    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.
    • tbd Metascore
    • 25 Diego Semerene
    Rarely leaves the realm of the obvious and the literal.
    • 74 Metascore
    • 75 Diego Semerene
    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.
    • 52 Metascore
    • 0 Diego Semerene
    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.
    • 68 Metascore
    • 50 Diego Semerene
    The Ballad of Genesis and Lady Jaye tries so hard to keep up with the quirkiness and theatricality of its subjects that it ends up canceling them out.
    • 57 Metascore
    • 75 Diego Semerene
    Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
    • 24 Metascore
    • 0 Diego Semerene
    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
    • 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.
    • 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.
    • 34 Metascore
    • 50 Diego Semerene
    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.
    • 51 Metascore
    • 63 Diego Semerene
    At the very least, The Pill could have been a pleasant exercise in screenwriting sharpness if Fred and Mindy's situation had been confined and (un-)resolved within the confines of its very promising first scene.
    • 37 Metascore
    • 75 Diego Semerene
    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
    • 50 Diego Semerene
    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.
    • 65 Metascore
    • 75 Diego Semerene
    What's easy to appreciate in the documentary, however, is the way it reassembles the Dzi Croquettes' trajectory without polishing off its jagged edges. It's through their brilliance and their flaws that they become muses.
    • 74 Metascore
    • 100 Diego Semerene
    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.
    • 71 Metascore
    • 88 Diego Semerene
    Elite Squad: The Enemy Within is pure pedagogic bliss.
    • 58 Metascore
    • 75 Diego Semerene
    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.
    • 67 Metascore
    • 75 Diego Semerene
    An over-the-top Russian musical about hipsters set in 1950s Moscow, where getting a non-pastel-colored tie is a mafia-mediated operation and a saxophone is considered a concealed weapon? Yes, please.
    • 47 Metascore
    • 50 Diego Semerene
    Cargo can feel like a "film about human trafficking" from beginning to end.
    • 39 Metascore
    • 0 Diego Semerene
    I'm not sure what part of Snowmen doesn't scream completely inappropriate, sentimental Manichean drivel.
    • 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.
    • 37 Metascore
    • 12 Diego Semerene
    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
    • 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.
    • 31 Metascore
    • 0 Diego Semerene
    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."
    • 57 Metascore
    • 38 Diego Semerene
    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.

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