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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    • 52 Metascore
    • 12 Diego Semerene
    Front Cover
    The very few instances where stereotypes are challenged are forced and didactically delivered.
    • 59 Metascore
    • 25 Diego Semerene
    Into the Forest
    Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood.
    • 72 Metascore
    • 63 Diego Semerene
    Summertime
    Catherine Corsini depicts feminists in lighthearted ways, at once humorously caricatured and sensitively human.
    • 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.
    • 74 Metascore
    • 88 Diego Semerene
    Land and Shade
    The landscape seems to push the characters away at the same time that it anchors them into place, suggesting that elsewhere is a promise that only dreams can keep.
    • 73 Metascore
    • 88 Diego Semerene
    From Afar
    The film renders visible a very complicated, and awfully repressed, truth not only about gay desire, but desire in general.
    • 25 Metascore
    • 12 Diego Semerene
    Honeyglue
    It's more interested in borrowing terminal cancer as a narrative shorthand for intensity than investigating it as a lived experience.
    • 39 Metascore
    • 12 Diego Semerene
    How to Plan an Orgy in a Small Town
    The ingenuity of writer-director Jeremy LaLonde's film ends with its title.
    • 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.
    • 70 Metascore
    • 75 Diego Semerene
    Our Last Tango
    Throughout the documentary, the question of truth is equated to the essence of the tango.
    • 26 Metascore
    • 12 Diego Semerene
    Rio, I Love You
    The hygienization of Rio into what at times looks like a soulless Southern California town is so scandalous it feels like a spoof of the Cities of Love series.
    • 59 Metascore
    • 88 Diego Semerene
    Valley of Love
    The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.
    • 65 Metascore
    • 38 Diego Semerene
    Take Me to the River
    It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.
    • 76 Metascore
    • 38 Diego Semerene
    Marguerite
    Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.
    • 62 Metascore
    • 88 Diego Semerene
    Bleak Street
    Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman.
    • 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.
    • 56 Metascore
    • 25 Diego Semerene
    Casa Grande
    The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences.
    • 68 Metascore
    • 88 Diego Semerene
    In the Basement
    Cinema hasn't been this close to the dusty cogs of desire's machinery and unapologetic about pleasure since Pasolini.
    • 55 Metascore
    • 38 Diego Semerene
    Hard Labor
    The allegorical possibilities of a disintegrating wall point to a film that could have been.
    • 62 Metascore
    • 63 Diego Semerene
    Xenia
    It leaves room for a few flights of fancy where the lack of verisimilitude feels less like screenplay filler and more like unabashed poetic license.
    • 58 Metascore
    • 75 Diego Semerene
    The Moving Creatures
    Caetano Gotardo's triptych of short tales features a sense of experimentation and poetic license mostly seen in European cinema.
    • 66 Metascore
    • 38 Diego Semerene
    Guidance
    The unapologetic lack of political correctness never goes beyond a one-dimensional and tentative provocation.
    • 73 Metascore
    • 75 Diego Semerene
    The Great Man
    It exploits the military aesthetics that lend themselves so well to breathtaking sounds and visuals without fetishizing them.
    • 68 Metascore
    • 75 Diego Semerene
    The Kindergarten Teacher
    The film's denouement is at once shocking and organic because it echoes a well-paced but nasty children's fable.
    • 75 Metascore
    • 50 Diego Semerene
    Mala Mala
    The filmmakers aren't really interested in the space between what these women say and what they mean.
    • 59 Metascore
    • 38 Diego Semerene
    Advantageous
    The dialogue is so disaffected it's as if humans were replicants even before going through the aforementioned twin-making procedure.
    • 32 Metascore
    • 12 Diego Semerene
    The 11th Hour
    Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.
    • 58 Metascore
    • 63 Diego Semerene
    Gemma Bovery
    The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.
    • 45 Metascore
    • 25 Diego Semerene
    Preggoland
    Throughout, Sonja Bennett embodies slackness as an affectation, not a raw response to a culture of authenticity-killing productivity.
    • 48 Metascore
    • 63 Diego Semerene
    Gerontophilia
    It chooses the delicateness of a fable instead of the narrative recklessness we've come to expect from Bruce La Bruce.
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