Diego Semerene Movie Reviews & Previews - Rotten Tomatoes

Diego Semerene

Diego Semerene
Diego Semerene's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
1.5/4 No Score Yet Métamorphoses (2014) In Metamorphoses, writer-director Christophe Honoré tries to domesticate, if not neuter, the strangeness of Ovid's classic tales.‐ Slant Magazine
Read More | Posted Mar 23, 2017
.5/4 71% The Sense Of An Ending (2017) RRitesh Batra's The Sense of an Ending is a tale of white nostalgia that should have found its footing on dramatic grounds. ‐ Slant Magazine
Read More | Posted Mar 8, 2017
78% Kiki (2017) 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. ‐ Slant Magazine
Read More | Posted Feb 28, 2017
3/4 83% The Lure (Córki dancingu) (2017) Agnieszka Smoczynska's film is most poignant when it simply stares at its own strangeness.‐ Slant Magazine
Read More | Posted Jan 31, 2017
.5/4 66% I Am Michael (2017) Justin Kelly's film is more interested in rushing through the narrative's events than contemplating their environment.‐ Slant Magazine
Read More | Posted Jan 24, 2017
3.5/4 95% Paris 05:59: Théo & Hugo (Théo et Hugo dans le même bateau) (2017) 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. ‐ Slant Magazine
Read More | Posted Jan 18, 2017
2.5/4 94% Strike a Pose (2017) The filmmakers and performers show great maturity in refusing to settle scores or spill secrets.‐ Slant Magazine
Read More | Posted Jan 16, 2017
3.5/4 100% The Bad Kids (2016) Keith Fulton and Louis Pepe's documentary raises important questions about the limits of pedagogy.‐ Slant Magazine
Read More | Posted Dec 20, 2016
1.5/4 83% The Brand New Testament (Le tout nouveau testament) (2016) At first, the film's dark humor is amusing, only for it to wear off once an actual plot kicks into motion. ‐ Slant Magazine
Read More | Posted Dec 6, 2016
1/4 63% Videofilia (and Other Viral Syndromes) (Videofilia: y otros síndromes virales) (2016) What the film embodies, unfortunately, is the listlessness of its slacker characters. ‐ Slant Magazine
Read More | Posted Nov 30, 2016
1.5/4 93% Notes on Blindness (2016) Its fatal mistake is to make up for blindness, instead of embracing it as something other than a liability.‐ Slant Magazine
Read More | Posted Nov 14, 2016
0/4 50% Lazy Eye (2016) Writer-director Tim Kirkman tries to peg depth of character on the character of Dean instead of having him earn it.‐ Slant Magazine
Read More | Posted Nov 7, 2016
0/4 45% King Cobra (2016) It's difficult to find a reason for the film's existence beyond a spoiled platform for James Franco's ersatz boldness.‐ Slant Magazine
Read More | Posted Oct 18, 2016
.5/4 65% The Great Gilly Hopkins (2016) Glenn Close's face teems with a flawlessly controlled gravitas that's completely at odds with the film's ordinariness. ‐ Slant Magazine
Read More | Posted Oct 5, 2016
2/4 82% Girl Asleep (2016) From the overtly vibrant colors to the caricaturesque dimensions of the performances, the film's aesthetic promises a great allegorical message that never arrives.‐ Slant Magazine
Read More | Posted Sep 29, 2016
3.5/4 89% Tharlo (2016) In the logic of the film, for the camera to move at all would feel like a betrayal of its contemplative hunger.‐ Slant Magazine
Read More | Posted Sep 27, 2016
2.5/4 83% Closet Monster (2016) It's when Stephen Dunn dares to inhabit the how and not the what of queerness that the film feels authentic and deliciously strange. ‐ Slant Magazine
Read More | Posted Sep 20, 2016
4/4 90% Elle (2016) Paul Verhoeven's film isn't afraid to inhabit the maddening ambivalence of pleasure.‐ Slant Magazine
Read More | Posted Sep 19, 2016
2/4 71% White Girl (2016) It's an entertaining and unapologetic tale of female risk-taking, filled with clever camerawork, but the characters remain shallow.‐ Slant Magazine
Read More | Posted Aug 30, 2016
1/4 80% The Intervention (2016) Clea DuVall crafts an entire film out of aborted attempts at a revelation that feel completely anodyne.‐ Slant Magazine
Read More | Posted Aug 23, 2016
3/4 100% Ixcanul (2016) The film's structure, however stifling, is filled with gorgeous imagery and nuanced symbolism.‐ Slant Magazine
Read More | Posted Aug 14, 2016
3.5/4 71% The Model (2016) The film unapologetically warns us at every turn that fashion is nothing but a business, fueled by naiveté and rape. ‐ Slant Magazine
Read More | Posted Aug 8, 2016
0.5/4 82% Front Cover (2016) The very few instances where stereotypes are challenged are forced and didactically delivered.‐ Slant Magazine
Read More | Posted Aug 1, 2016
1/4 77% Into The Forest (2016) Essentially a post-apocalyptic telenovela, it sanitizes the concept of sisterhood, and even womanhood. ‐ Slant Magazine
Read More | Posted Jul 25, 2016
2.5/4 92% Summertime (La Belle Saison) (2016) Catherine Corsini depicts feminists in lighthearted ways, at once humorously caricatured and sensitively human. ‐ Slant Magazine
Read More | Posted Jul 19, 2016
3/4 93% The Innocents (Les innocentes) (2016) Anne Fontaine's film is an allegory for women's condition more generally, in times of war or peace. ‐ Slant Magazine
Read More | Posted Jun 28, 2016
3.5/4 78% From Afar (Desde Allá) (2016) It suggests that when straight men finally offer some kind of reciprocity to gay men, they lose their status as proper objects of desire. ‐ Slant Magazine
Read More | Posted Jun 6, 2016
.5/4 36% Honeyglue (2016) It's more interested in borrowing terminal cancer as a narrative shorthand for intensity than investigating it as a lived experience. ‐ Slant Magazine
Read More | Posted May 31, 2016
.5/4 27% How to Plan an Orgy in a Small Town (2016) The ingenuity of writer-director Jeremy LaLonde's film ends with its title. ‐ Slant Magazine
Read More | Posted May 9, 2016
3/4 81% Viva (2016) The drag in the film rejects the U.S.-centric obsession with "realness" and the acrobatics that come with it.‐ Slant Magazine
Read More | Posted Apr 25, 2016
3/4 89% Our Last Tango (Un Tango Más) (2016) The professional and romantic collaboration of yore is replaced by memories of betrayal, resentment, and bodily decay.‐ Slant Magazine
Read More | Posted Apr 12, 2016
.5/4 9% Rio, I Love You (Rio, Eu Te Amo) (2016) 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.‐ Slant Magazine
Read More | Posted Apr 9, 2016
3.5/4 89% Applause (Applaus) (2010) Steen's performance is so mesmerizingly nuanced, her face so overwhelmed, almost twitching with complexity, it's like watching a volcanic explosion inside a small, very delicate flask.‐ Slant Magazine
Read More | Posted Apr 7, 2016
3.5/4 73% Valley Of Love (2016) The film enables us to feel the emotional weight of a posthumous letter precisely because we can only imagine its contents.‐ Slant Magazine
Read More | Posted Mar 21, 2016
1.5/4 70% Take Me To The River (2016) It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.‐ Slant Magazine
Read More | Posted Mar 18, 2016
1.5/4 95% Marguerite (2016) Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, albeit at the main character's expense.‐ Slant Magazine
Read More | Posted Mar 9, 2016
77% Goat (2016) It's a refreshing and overdue exposure of the violence that white male privilege breeds and needs to reassert itself.‐ Slant Magazine
Read More | Posted Feb 19, 2016
100% Things to Come (L'avenir) (2016) A film about the ways in which the intellectual pursuit might be a woman's only guarantor against misery, against a complete dependency on others who are sure to abandon them sooner or later.‐ Slant Magazine
Read More | Posted Feb 17, 2016
3.5/4 50% Bleak Street (La calle de la amargura) (2016) Bleakness, Arturo Ripstein's film implies, demands different kinds of labor from a man than from a woman.‐ Slant Magazine
Read More | Posted Jan 18, 2016
3/4 71% The Summer Of Sangaile (2015) Writer-director Alanté Kavaité's film is a string of softly weaved pictorial metaphors steeped in reverie.‐ Slant Magazine
Read More | Posted Nov 16, 2015
1/4 90% Casa Grande (2015) The film uses its critique of white privilege as a means to woo the legitimizing gaze of international audiences. ‐ Slant Magazine
Read More | Posted Nov 11, 2015
3.5/4 83% In the Basement (Im Keller) (2015) Cinema hasn't been this close to the dusty cogs of desire's machinery, this unapologetic about pleasure, since Pasolini.‐ Slant Magazine
Read More | Posted Nov 3, 2015
1.5/4 83% Hard Labor (2015) The allegorical possibilities of a disintegrating wall point to a film that could have been. ‐ Slant Magazine
Read More | Posted Oct 26, 2015
2.5/4 85% Xenia (2015) 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.‐ Slant Magazine
Read More | Posted Oct 5, 2015
3/4 No Score Yet The Moving Creatures (2015) Caetano Gotardo's triptych of short tales features a sense of experimentation and poetic license mostly seen in European cinema.‐ Slant Magazine
Read More | Posted Sep 10, 2015
1.5/4 88% Guidance (2015) The unapologetic lack of political correctness never goes beyond a one-dimensional and tentative provocation. ‐ Slant Magazine
Read More | Posted Aug 17, 2015
2/4 92% Mala Mala (2015) The filmmakers aren't really interested in the space between what these women say and what they mean.‐ Slant Magazine
Read More | Posted Jun 29, 2015
1.5/4 80% Advantageous (2015) The dialogue is so disaffected it's as if humans were replicants even before going through the aforementioned twin-making procedure.‐ Slant Magazine
Read More | Posted Jun 24, 2015
.5/4 0% The 11th Hour (2015) Writer-director Anders Morgenthaler's film is practically an exercise in over-explication.‐ Slant Magazine
Read More | Posted Jun 8, 2015
2.5/4 52% Gemma Bovery (2015) The film dabbles in the French romantic-comedy tradition and simultaneously spoofs it, committing to neither.‐ Slant Magazine
Read More | Posted May 27, 2015