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
1/4 76% The Misandrists (2018) The sexual outbursts in the film are tempered with a tenderness that one hardly associates with Bruce LaBruce's career.‐ Slant Magazine
Read More | Posted May 20, 2018
3/4 91% Hitler's Hollywood (2018) Rüdiger Suchsland's film is a master class in the relationship between image production and ideology writ large.‐ Slant Magazine
Read More | Posted Apr 10, 2018
2/4 85% The Nothing Factory (A Fábrica de Nada) (2017) Its cerebral approach works better during sequences that are less dependent on narrative and more essayistic in nature.‐ Slant Magazine
Read More | Posted Mar 28, 2018
3/4 No Score Yet Scary Mother (2017) Virginia Woolf's iconic aphorism that "a woman must have money and a room of her own if she is to write fiction" comes to life in the most allegorical of ways in Scary Mother.‐ Slant Magazine
Read More | Posted Mar 26, 2018
3/4 95% 12 Days (12 Jours) (2018) With a tender and respectful gaze, the documentary sheds light on the relationship between the French state and the mentally ill. ‐ Slant Magazine
Read More | Posted Mar 14, 2018
3/4 95% November (2018) Rainer Sarnet is as invested in telling a convoluted story that feels rooted in millennia-old folklore as he is in unabashedly experimenting with form and style for the sake of visual pleasure alone.‐ Slant Magazine
Read More | Posted Feb 21, 2018
3.5/4 95% Tehran Taboo (2018) Tehran Taboo is full of astute, and poetically staged, critiques of the parallel worlds resulting from Iran's police state. ‐ Slant Magazine
Read More | Posted Feb 14, 2018
1.5/4 92% In the Intense Now (No Intenso Agora) (2018) Although João Moreira Salles tries to tap into the pleasurable elements inherent to the essayistic as a cinematic form, such as making the merging of intimate and social reality poetically visible, his storylines never quite gel. ‐ Slant Magazine
Read More | Posted Jan 29, 2018
2.5/4 87% A Ciambra (2018) The film is most engrossing in its opening act, when its camera is freed from the demands of plot, channeling Pio's peripatetic spirit.‐ Slant Magazine
Read More | Posted Jan 22, 2018
1.5/4 92% Saturday Church (2018) Writer-director Damon Cardasis follows a rather didactic approach to his 14-year-old's protagonist's plight in Saturday Church.‐ Slant Magazine
Read More | Posted Jan 10, 2018
2/4 No Score Yet Anatomy of a Male Ballet Dancer (2018) Lost, or at least merely glossed over, throughout this hagiographic documentary portrait is the miraculous story of an effeminate Brazilian boy who was actually allowed to blossom through dance.‐ Slant Magazine
Read More | Posted Dec 22, 2017
4/4 100% Miss Kiet's Children (2017) Childhood in Peter Lataster and Petra Lataster-Czisch's documentary is the terrain of contradiction and ambiguity. ‐ Slant Magazine
Read More | Posted Dec 11, 2017
1.5/4 94% The Breadwinner (2017) Cross-dressing in the story is merely a tool for survival, but such border-crossing is inevitably rife with unintended consequences beyond narrative ones.‐ Slant Magazine
Read More | Posted Nov 15, 2017
1/4 57% A Bride for Rip Van Winkle (Rippu van winkuru no hanayome) (2017) The film is an interminable saga full of soap-operatic plot twists involving quickly broken marriages, sexual assault, a secret porn career, terminal illness, and a quasi lesbian love affair.‐ Slant Magazine
Read More | Posted Nov 7, 2017
3.5/4 99% God's Own Country (2017) Writer-director Francis Lee captures not only what masculinity does and how it comes undone, but the complex apparatus that keeps it into place: the family's surveillance, the silence, the shame.‐ Slant Magazine
Read More | Posted Oct 24, 2017
60% Reinventing Marvin (Marvin) (2017) For anyone who's read Edouard Louis's 2014 novel The End of Eddy, a gut-wrenching account of growing up poor and gay in rural France, Reinventing Marvin will feel like a botched job. ‐ Slant Magazine
Read More | Posted Oct 13, 2017
93% Loveless (Nelyubov) (2018) Andrey Zvyagintsev's film suggests that when, and perhaps only when, the child vacates his place in the family, like a ghost, does the child manage to insert himself into the history of the family in an authentic way. ‐ Slant Magazine
Read More | Posted Oct 12, 2017
100% Wajib (2017) Writer-director Annemarie Jacir's Wajib suggests that Palestinian survival depends on acts of self-erasure and self-betrayal.‐ Slant Magazine
Read More | Posted Oct 11, 2017
92% Lean on Pete (2018) The film, adapted by Andrew Haigh from Willy Vlautin's 2010 novel, has an urgency for epic things to happen to its main character in the most literal sense.‐ Slant Magazine
Read More | Posted Oct 8, 2017
1.5/4 20% A*sholes (2017) It begins as a clever pseudo-mumblecore provocation with shades of Bruce LaBruce only to quickly turn into indefensible nonsense.‐ Slant Magazine
Read More | Posted Oct 2, 2017
1/4 66% Manolo, The Boy Who Made Shoes For Lizards (2017) Michael Roberts's documentary is an unabashed exercise in deifying its subject matter with superlatives and hyperbole from the mouths of talking heads, which ultimately results in the cheapening of the artist. ‐ Slant Magazine
Read More | Posted Sep 11, 2017
1.5/4 93% School Life (2017) School Life is unfortunately committed to keeping its subjects, especially Headfort's students, at arm's length.‐ Slant Magazine
Read More | Posted Sep 6, 2017
3/4 77% The Challenge (2017) Contemporary tropes of material luxury and ancient rituals coexist throughout Yuri Ancarani's documentary.‐ Slant Magazine
Read More | Posted Sep 2, 2017
91% The Teacher (Ucitelka) (2017) There's a Tarkovskian layer of social despair in the web of corruption joining the child and the adult, the bedroom and the nation.‐ Slant Magazine
Read More | Posted Aug 31, 2017
2.5/4 89% After Love (L'économie du couple) (2017) The film too often puts too much trust in dialogue, as Marie and Boris's predicament is sometimes perfectly conveyed by the actors' facial expressions and body language.‐ Slant Magazine
Read More | Posted Aug 8, 2017
3/4 88% This Time Tomorrow (Mañana a esta hora) (2016) Throughout, we keep waiting for some shoe to drop, as Rodriguez's close-ups are so quiet, so insistent, that they suggest something is cracking within.‐ Slant Magazine
Read More | Posted Aug 3, 2017
3.5/4 88% 4 Days in France (Jours de France) (2017) 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.‐ Slant Magazine
Read More | Posted Jul 21, 2017
1.5/4 88% The Midwife (Sage femme) (2017) If not for its performances, the film would belong in the category of Hallmark Channel tearjerkers. ‐ Slant Magazine
Read More | Posted Jul 19, 2017
.5/4 50% The Drowning (2017) 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.‐ Slant Magazine
Read More | Posted May 9, 2017
.5/4 23% Below her Mouth (2017) The film's pornographic premise turns into an all-out pornographic stunt from the very beginning.‐ Slant Magazine
Read More | Posted Apr 25, 2017
0/4 61% Carrie Pilby (2017) 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.‐ Slant Magazine
Read More | Posted Mar 29, 2017
1.5/4 60% 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 75% 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
83% 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 88% 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 64% 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 84% 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 94% 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 60% 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 44% 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 81% 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 80% 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 91% 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