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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    • 44 Metascore
    • 38 Diego Semerene
    Reaching for the Moon
    Bruno Barreto's insistence that this pass for a product that Hollywood might have spawned smoothens a journey built on sharp edges.
    • 71 Metascore
    • 88 Diego Semerene
    The Pervert's Guide to Ideology
    Slavoj Žižek manages to explain some of Lacanian psychoanalysis's most inscrutable notions with disarming clarity and infectious urgency.
    • 65 Metascore
    • 50 Diego Semerene
    Camille Claudel 1915
    Juliette Binoche's face, as we know, can tell a million stories in a simple and brief rearrangement of her facial muscles.
    • tbd Metascore
    • 75 Diego Semerene
    Réquiem NN
    Filmmaker Juan Manuel Echavarría's hands-off approach hinders us from mocking the believers' naïveté.
    • 51 Metascore
    • 63 Diego Semerene
    Five Dances
    It's the moments when director Alan Brown stops worrying about clarifying plot and character motivation and lets the performances bring those into being that makes this an authentic project.
    • 69 Metascore
    • 50 Diego Semerene
    Out in the Dark
    Instead of looking for depth or verisimilar romance, director Michael Mayer turns his characters into mere cogs in a pseudo-suspenseful thriller.
    • 82 Metascore
    • 100 Diego Semerene
    Stranger by the Lake
    Alain Guiraudie's film portrays cruising as a danger-seeking and astoundingly repetitive affair, intimately linked to death itself.
    • 51 Metascore
    • 75 Diego Semerene
    Mademoiselle C
    It's to Carine Roitfeld's own credit and director Fabien Constant's funky and frenetic pacing that the doc feels neither like a corporate hagiography nor like mere fashionista masturbation material.
    • 68 Metascore
    • 25 Diego Semerene
    Fire in the Blood
    It produces a collection of one-dimensional facts strung together with an utmost respect for chronology and documentary-making's most stale conventions.
    • 59 Metascore
    • 75 Diego Semerene
    Abigail Harm
    Lee Isaac Chung's film exudes a wonderful sense of originality, a daring and organic playfulness rarely found in American indie cinema.
    • 61 Metascore
    • 38 Diego Semerene
    Paradise: Faith
    A shallow film that leaves us knowing exactly what we're seeing, and able to predict what the characters will say to each other in the mostly uninspired and overtly familiar dialogue.
    • 65 Metascore
    • 88 Diego Semerene
    The Machine Which Makes Everything Disappear
    It ever so subtly zeros in on the extreme particularities of a remote place to find something universal, or at the very least easily comprehensible about despair.
    • tbd Metascore
    • 50 Diego Semerene
    La Playa D.C.
    The film only feels interesting when it focuses on looking at what the characters aren't doing and listening to what they aren't saying.
    • 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.
    • 83 Metascore
    • 75 Diego Semerene
    La Camioneta: The Journey of One American School Bus
    The documentary is committed not to some pseudo-factual documentary tradition, but to a more engaging realist poesis.
    • 54 Metascore
    • 50 Diego Semerene
    He's Way More Famous Than You
    It would have been nice if the film had surrendered to its lunacy more blatantly, more carelessly.
    • 43 Metascore
    • 12 Diego Semerene
    Desperate Acts of Magic
    Tammy Caplan and Joe Tyler Gold's film gives off the alienating feel of an inside joke that you miss in the off chance you're not part of the professional magic business.
    • 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.
    • 35 Metascore
    • 50 Diego Semerene
    Dorfman in Love
    The film's moral lesson is too contradictory to be taken seriously.
    • 54 Metascore
    • 88 Diego Semerene
    Clip
    A raw, sophisticated, and stomach-turning look at what it means to be a young woman in Serbia, what it means to be a woman tout court.
    • 79 Metascore
    • 63 Diego Semerene
    Downeast
    An exposé of how the financial structures that make businesses possible in America seem to conspire against genuine good will and non-self-serving ambition.
    • 32 Metascore
    • 0 Diego Semerene
    Day of the Falcon
    There's an enormous amount of perverse pleasure to be had here for those who get off on the annihilation of nuance.
    • 49 Metascore
    • 50 Diego Semerene
    A Rubberband Is an Unlikely Instrument
    It's as though the director, like his subjects, was too comfortable in the safe familiarity of the surface to find the place where it betrays us.
    • 66 Metascore
    • 75 Diego Semerene
    Yossi
    The film is at its finest as a catalogue of Yossi's unspoken ache, less so when it begins to flirt with the clichés of the love story.
    • 37 Metascore
    • 50 Diego Semerene
    Let My People Go!
    Without a consistent stylistic playfulness to match the histrionic scenarios, the action often feels just plain silly.
    • 60 Metascore
    • 75 Diego Semerene
    Any Day Now
    Its most redeeming quality is that it isn't so quick to neuter its queer characters into a package-friendly "gay couple" aesthetic a la Modern Family.
    • 51 Metascore
    • 25 Diego Semerene
    In Our Nature
    In Our Nature's visual style seems plastered on or allocated, not developed with any sort of authorial singularity.
    • 66 Metascore
    • 12 Diego Semerene
    King Kelly
    The film decides very early on, as part of its premise, to reduce Louisa Krause's King Kelly to a one-dimensional narcissist.
    • 51 Metascore
    • 63 Diego Semerene
    Walk Away Renee
    It's Jonathan Caouette's insistence in going back to his nightmarish old footage, or the old footage that he purposefully renders nightmarish, that seems more interesting.
    • 74 Metascore
    • 63 Diego Semerene
    Starlet
    The film works as a charming aesthetic exercise with its jerky camera and inadvertent cuts, as a contemplation on intergenerational female bonding.
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