Diego Semerene

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Slant Magazine
For 299 reviews, this critic has graded:
  • 37% higher than the average critic
  • 3% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 9 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Tomboy
Lowest review score: 0 The Roads Not Taken
Score distribution:
  1. Positive: 156 out of 299
  2. Mixed: 43 out of 299
  3. Negative: 100 out of 299
299 movie reviews
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    • 87 Metascore
    • 75 Diego Semerene
    Rose
    Freudians will have a field day with Markus Schleinzer’s 17th-century-set folk tale.
    • 68 Metascore
    • 75 Diego Semerene
    Family Romance, LLC
    We are never quite sure of the extent to which situations and dialogues have been scripted and, as such, it’s as though Herzog were more witness than author, more passerby than gawker, simply registering Japan being Japan.
    • 80 Metascore
    • 75 Diego Semerene
    Papirosen
    Gastón Solnicki's mapping out of his family's narrative from within never feels exploitative or self-absorbed.
    • 59 Metascore
    • 75 Diego Semerene
    My Darling Supermarket
    If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
    • 56 Metascore
    • 75 Diego Semerene
    Guilty of Romance
    Though it begins with the aesthetic and conceptual rigor of Blade Runner, it quickly veers toward the gratuitous outlandishness of a Bruce La Bruce film.
    • 85 Metascore
    • 75 Diego Semerene
    The Eternal Memory
    Maite Alberdi’s film slowly reveals the personal loss of the ability to remember as inextricably linked to the loss of national memory.
    • 73 Metascore
    • 75 Diego Semerene
    Appropriate Behavior
    Desiree Akhavan's tale of queer post-breakup funk shows more nuance, and racial dimension, than its cinematic cousins.
    • 67 Metascore
    • 75 Diego Semerene
    Hipsters
    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.
    • 80 Metascore
    • 75 Diego Semerene
    The Ice Tower
    The Ice Tower is, ultimately, an aesthetic and nostalgic exercise.
    • 73 Metascore
    • 75 Diego Semerene
    Crystal Swan
    Throughout the film, it’s as if mundane objects hold the remedies for the wretchedness of everyday life.
    • 52 Metascore
    • 75 Diego Semerene
    My Worst Nightmare
    The hilarity of the film creeps up slowly and from every angle, not through the facile immediacy of short-lived laughter.
    • tbd Metascore
    • 75 Diego Semerene
    Artificial Paradises
    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.
    • 80 Metascore
    • 75 Diego Semerene
    Call Me Kuchu
    The film provides welcome context for the semi-hysteria that recently took over the U.S. media in regard to Uganda's "Kill the Gays" bill.
    • 73 Metascore
    • 75 Diego Semerene
    Futura
    Pietro Marcello, Francesco Munzi, and Alice Rohrwacher’s documentary rather faithfully captures the spirit of our times.
    • 77 Metascore
    • 75 Diego Semerene
    Wetlands
    For its general ludic obsession with all things generally thought of as disgusting, the German film Wetlands is stuck in the anal stage.
    • 91 Metascore
    • 75 Diego Semerene
    Drive My Car
    At its most accomplished, the film unfolds with a voluptuous slowness and a sense that narrative endpoints are irrelevant.
    • 81 Metascore
    • 75 Diego Semerene
    Elena
    This is a film about the invisible things passed down from generation to generation, that nasty inheritance that cages us into patterns and puzzles we try to solve in someone else's name.
    • 84 Metascore
    • 75 Diego Semerene
    McQueen
    As Ian Bonhôte's documentary reveals, Alexander McQueen's suicide was perhaps the all-too-predictable ending to a history of violence.
    • 65 Metascore
    • 75 Diego Semerene
    Paradise: Love
    It often seems more intent on spelling out its awareness of the politics involved than in lingering on the aching human engaged in the libidinal transactions.
    • 69 Metascore
    • 75 Diego Semerene
    The Competition
    Claire Simon knows that the best way to capture the anxiousness of a moment is to leave it unembellished.
    • 57 Metascore
    • 75 Diego Semerene
    Cirkus Columbia
    Its lightheartedness and overtly traditional narrative structure become a smart strategy for crafting what is ultimately a very nuanced political critique of capital.
    • 69 Metascore
    • 75 Diego Semerene
    Viva
    The drag in the film rejects the U.S.-centric obsession with "realness" and the acrobatics that come with it.
    • 67 Metascore
    • 75 Diego Semerene
    The Circle
    The film refuses to tease us with suspense, overwhelm us with sentimentality, or defy us with nuance.
    • 70 Metascore
    • 75 Diego Semerene
    Plan 75
    Because so much of Hayakawa’s film is given over to depictions of the procedures, formalities, and impersonal administration that define Plan 75, even the tiniest spark of feeling comes as a relief.
    • 78 Metascore
    • 75 Diego Semerene
    Kontinental '25
    Radu Jude’s cinema isn’t exactly absurdist, though it exposes the absurdities of a present reeling from the unresolved injustices of yore.
    • 59 Metascore
    • 75 Diego Semerene
    Sibyl
    Justine Triet is less committed to some make-believe realism than she is to the tricks that memory and language can play on us.
    • 70 Metascore
    • 75 Diego Semerene
    Martin Margiela: In His Own Words
    Reiner Holzemer’s adulation of his subject feels most credible because he spends a lot of time focusing on the clothes.
    • 63 Metascore
    • 75 Diego Semerene
    The Summer of Sangaile
    Writer-director Alanté Kavaité's film is a string of softly weaved pictorial metaphors steeped in reverie.
    • 63 Metascore
    • 75 Diego Semerene
    Farewell to Hollywood
    It suggests that a disease isn't a product of one single person's body, but the eruption of an entire family history of unarticulated desire.
    • 78 Metascore
    • 75 Diego Semerene
    The Innocents
    Anne Fontaine's film is an allegory for women's condition more generally, in times of war or peace.
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