Diego Semerene

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For 253 reviews, this critic has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this critic grades 9.6 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Paraguay Remembered
Lowest review score: 0 Casa de mi Padre
Score distribution:
  1. Negative: 93 out of 253
253 movie reviews
    • 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.
    • 73 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.
    • 59 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.
    • 71 Metascore
    • 25 Diego Semerene
    Adrian is too flat as a character, his plight too generic, for his tears to count as something other than a sentimental ready-made.
    • 62 Metascore
    • 38 Diego Semerene
    The Children Act stages the clumsiness of belated domestic confrontations with the very coldness that’s kept its characters from having discussed their emotions for decades and from having had sex for almost a year.
    • 71 Metascore
    • 50 Diego Semerene
    Despite the exuberance of the works featured, which are promptly flattened by the film's commitment to a traditional documentary blueprint, Yayoi Kusama's resilience still commands our attention.
    • 73 Metascore
    • 75 Diego Semerene
    Much more interesting than Jacques and Arthur's relationship is Christophe Honoré's subtle portrait of the early '90s as a time of accelerated mortality and mourning, but also of material encounters of all kinds.
    • 77 Metascore
    • 38 Diego Semerene
    Glenn Close's perennial look of astonishment and resilience commands the action to the point of turning every other screen element into a gratuitous prop.
    • 69 Metascore
    • 25 Diego Semerene
    The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
    • 73 Metascore
    • 38 Diego Semerene
    The film is a rebellion of surfaces that never quite reaches, or emanates from, the underpinning roots of its fable.
    • 70 Metascore
    • 25 Diego Semerene
    The very act of having kids and demanding perfect conformity from them is never questioned by the film.
    • 84 Metascore
    • 75 Diego Semerene
    As Ian Bonhôte's documentary reveals, Alexander McQueen's suicide was perhaps the all-too-predictable ending to a history of violence.
    • 56 Metascore
    • 25 Diego Semerene
    The sexual outbursts in the film are tempered with a tenderness that one hardly associates with Bruce LaBruce's career.
    • 78 Metascore
    • 75 Diego Semerene
    Rüdiger Suchsland’s film is a master class in the relationship between image production and ideology writ large.
    • 81 Metascore
    • 75 Diego Semerene
    With a tender and respectful gaze, 12 DAYS (@distribfilmsus) sheds light on the relationship between the French state and the mentally ill.
    • 49 Metascore
    • 38 Diego Semerene
    Huppert is such a master of her craft that even the silliest sequences give way to tour-de-force moments.
    • 79 Metascore
    • 75 Diego Semerene
    Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.
    • 74 Metascore
    • 88 Diego Semerene
    The film is full of astute, and poetically staged, critiques of the parallel worlds resulting from Iran's police state.

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