Diego Semerene

Select another critic »
For 238 reviews, this critic has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 10.2 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Stranger by the Lake
Lowest review score: 0 Snowmen
Score distribution:
  1. Negative: 92 out of 238
238 movie reviews
    • 73 Metascore
    • 75 Diego Semerene
    Throughout the film, it’s as if mundane objects hold the remedies for the wretchedness of everyday life.
    • 52 Metascore
    • 50 Diego Semerene
    Christophe Honoré deposits all his chips on the comedic premise at the expense of character study and gravitas.
    • 87 Metascore
    • 75 Diego Semerene
    David France’s most remarkable accomplishment emerges from an aesthetic commitment of a very particular kind.
    • 81 Metascore
    • 88 Diego Semerene
    The film grapples with the various shapes that guilt and honor (or lack thereof) might take in a context of state-sanctioned death.
    • tbd Metascore
    • 88 Diego Semerene
    Reciprocity might be impossible in a world rigged against queerness, Tsai seems to say, which doesn’t mean that certain things can't still be shared.
    • 39 Metascore
    • 0 Diego Semerene
    The film is an unending source for the worst possible clichés and most overdone series of graphic matches in the history of film editing.
    • tbd Metascore
    • 88 Diego Semerene
    Camera, character, and cameraperson are one throughout, and the effect is exquisitely suffocating.
    • 57 Metascore
    • 38 Diego Semerene
    Philippe Garrel illustrates the absurdity behind the myth of the complementary couple with the same cynicism that permeates his previous work but none of the humor or wit.
    • Slant Magazine
    • 75 Metascore
    • 63 Diego Semerene
    Li Cheng gets much closer to capturing his characters’ predicaments when he trusts the images alone.
    • 72 Metascore
    • 50 Diego Semerene
    With Earth, Nikolaus Geyrhalter’s visual strategy is to wow us with tangibility and data, though he doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
    • 81 Metascore
    • 50 Diego Semerene
    Only rarely does Karim Aïnouz allow for loopholes to refreshingly emerge from the film’s stylistic deadlock.
    • 81 Metascore
    • 88 Diego Semerene
    The simplicity of bodies barely moving before a camera that brings their quotidian temporality into a halt is nothing short of a radical proposition in our digital era.
    • 71 Metascore
    • 75 Diego Semerene
    It’s fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself, bringing back news from its most glamourous yet rotten core.
    • 56 Metascore
    • 63 Diego Semerene
    Only Marisa Tomei’s face can compete with Isabelle Huppert’s ability to turn even the sappiest of scenarios into a nuanced tour de force.
    • 56 Metascore
    • 38 Diego Semerene
    Erin Derham’s unadventurous aesthetic inoculates her from taxidermy’s subversive spirit.
    • 53 Metascore
    • 63 Diego Semerene
    The film’s mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles.
    • 72 Metascore
    • 75 Diego Semerene
    The film is much more in synchrony with the haziness of its imagery when it preserves the awkwardness between characters, the impossibility for anything other than life’s basic staples to be exchanged.
    • 58 Metascore
    • 75 Diego Semerene
    Justine Triet is less committed to some make-believe realism than she is to the tricks that memory and language can play on us.
    • 69 Metascore
    • 50 Diego Semerene
    Hari Sama never quite manages to seamlessly sync the film’s anti-bourgeois political commitments to its soap-operatic register.
    • 76 Metascore
    • 63 Diego Semerene
    It wouldn’t be fair to call the film hagiographic, but the director’s empathy, if not love, for her subject hinders her from examining Cassandro’s wounds with much depth.
    • 69 Metascore
    • 38 Diego Semerene
    We never spend enough time with the characters to believe the urgency, and lushness, of their cravings.
    • 73 Metascore
    • 75 Diego Semerene
    Almudena Carracedo and Robert Bahar’s documentary is monumental for its clamorous sounding of an alarm.
    • 75 Metascore
    • 75 Diego Semerene
    The film is a tale about how those who spiral so far out of control become blind, if not immune, to the severity of their symptoms.
    • 81 Metascore
    • 75 Diego Semerene
    Lila Avilés’s film reserves the possibility of flirtations with disaster to turn into acts of emancipation.
    • 69 Metascore
    • 75 Diego Semerene
    Claire Simon knows that the best way to capture the anxiousness of a moment is to leave it unembellished.
    • 74 Metascore
    • 38 Diego Semerene
    Unlike My Life in Pink, Daughter of Mine sidesteps all ambiguity, as the film reveals everything about its characters straight away, leaving little room for unexpected complexities about their predicaments to develop.
    • 75 Metascore
    • 38 Diego Semerene
    Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
    • 78 Metascore
    • 50 Diego Semerene
    Director and co-writer Milad Alami's film feels like several fused-together trial drafts of the same narrative.
    • 61 Metascore
    • 75 Diego Semerene
    El Angel‘s greatest accomplishment is in the way it charges the relationships between characters with so much eroticism but never grants us the right to watch desire — other than desire for violence — actually unfold.
    • 64 Metascore
    • 88 Diego Semerene
    The film exposes the idea of places as metaphors, mirrors, and symptoms for the people who inhabit them.

Top Trailers