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 8.9 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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    • 73 Metascore
    • 88 Diego Semerene
    4 Days in France
    There’s something liberating about such a steady creative hand that rejects justifying the twists and turns of a storyline, which becomes in 4 Days in France something akin to cruising itself.
    • 66 Metascore
    • 38 Diego Semerene
    Mister Universo
    The film eventually replaces the captivating smallness of everyday life with an inconsequential drama.
    • 66 Metascore
    • 38 Diego Semerene
    The Midwife
    If not for its performances, the film would belong in the category of Hallmark Channel tearjerkers.
    • 69 Metascore
    • 75 Diego Semerene
    The Challenge
    Here the organic and the frivolously material aren't oppositions or rivals, but partners in a spectacle for men's eyes only.
    • 43 Metascore
    • 12 Diego Semerene
    The Drowning
    If there’s anything worth mulling over about The Drowning, it's the way it proffers the East Coast couple as an inevitably miserable institution without really meaning to.
    • 52 Metascore
    • 0 Diego Semerene
    Carrie Pilby
    The film is essentially an exercise in forcing a female genius back into her proper place of dependence on both the father figure and the Prince Charming.
    • 61 Metascore
    • 12 Diego Semerene
    The Sense of an Ending
    Ritesh Batra's film is a tale of white nostalgia that should have found its footing on dramatic grounds.
    • 73 Metascore
    • 50 Diego Semerene
    Kiki
    When compared to the high-stakes dramas at the center of Paris Is Burning, where sex workers dreamed of becoming supermodels, Kiki feels rather tame.
    • tbd Metascore
    • 100 Diego Semerene
    Paraguay Remembered
    Like most great essay films, Paraguay Remembered is driven by associations not just with art works with which it shares a kinship, but a stream-of-conscious relationship between word and image.
    • 72 Metascore
    • 75 Diego Semerene
    The Lure
    Agnieszka Smoczynska's film is most poignant when it simply stares at its own strangeness.
    • 56 Metascore
    • 12 Diego Semerene
    I Am Michael
    Justin Kelly's film is more interested in rushing through the narrative's events than contemplating their environment.
    • 74 Metascore
    • 88 Diego Semerene
    Paris 05:59: Théo & Hugo
    Very few films accept the contradicting velocities of gay desire, and present them in such blunt yet graceful fashion, the way Paris 05:59 does.
    • 59 Metascore
    • 63 Diego Semerene
    Strike a Pose
    The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.
    • 75 Metascore
    • 88 Diego Semerene
    The Bad Kids
    Keith Fulton and Louis Pepe's documentary raises important questions about the limits of pedagogy.
    • 70 Metascore
    • 38 Diego Semerene
    The Brand New Testament
    At first, the film’s dark humor is amusing, only for it to wear off once an actual plot kicks into motion.
    • 48 Metascore
    • 25 Diego Semerene
    Videophilia (and Other Viral Syndromes)
    What the film embodies, unfortunately, the listlessness of its slacker characters.
    • 75 Metascore
    • 38 Diego Semerene
    Notes on Blindness
    Its fatal mistake is to make up for blindness, instead of embracing it as something other than a liability.
    • 39 Metascore
    • 0 Diego Semerene
    Lazy Eye
    Writer-director Tim Kirkman tries to peg depth of character on the character of Dean instead of having him earn it.
    • 48 Metascore
    • 0 Diego Semerene
    King Cobra
    It’s difficult to find a reason for the film's existence beyond a spoiled platform for James Franco's ersatz boldness.
    • 47 Metascore
    • 12 Diego Semerene
    The Great Gilly Hopkins
    Glenn Close's face teems with a flawlessly controlled gravitas that’s completely at odds with the film’s ordinariness.
    • 83 Metascore
    • 88 Diego Semerene
    Being 17
    André Téchiné does justice to the closeness between repulsion and desire, difference and sameness, heterosexuality and homosexuality.
    • 67 Metascore
    • 50 Diego Semerene
    Girl Asleep
    From the overtly vibrant colors to the caricaturesque dimensions of the performances, the film's aesthetic promises a great allegorical message that never arrives.
    • 65 Metascore
    • 88 Diego Semerene
    Tharlo
    In the logic of the film, for the camera to move at all would feel like a betrayal of its contemplative hunger.
    • 81 Metascore
    • 63 Diego Semerene
    Closet Monster
    It's when Stephen Dunn dares to inhabit the how and not the what of queerness that Closet Monster feels authentic and deliciously strange.
    • 89 Metascore
    • 100 Diego Semerene
    Elle
    This is a film that isn’t afraid to inhabit the maddening ambivalence of pleasure, recognizing that desire simply doesn’t recognize good manners.
    • 65 Metascore
    • 50 Diego Semerene
    White Girl
    It's an entertaining and unapologetic tale of female risk-taking, filled with clever camerawork, but the characters remain shallow.
    • 57 Metascore
    • 25 Diego Semerene
    The Intervention
    Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.
    • 83 Metascore
    • 75 Diego Semerene
    Ixcanul
    The film's structure, however stifling, is filled with gorgeous imagery and nuanced symbolism.
    • 58 Metascore
    • 88 Diego Semerene
    The Model
    The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape.
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