Alonso Duralde

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The Film Verdict, The Wrap, TheWrap
For 799 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Alonso Duralde's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Challengers
Lowest review score: 0 Memory
Score distribution:
  1. Positive: 453 out of 799
  2. Mixed: 213 out of 799
  3. Negative: 133 out of 799
799 movie reviews
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    • 63 Metascore
    • 62 Alonso Duralde
    Atomic Blonde
    Based on the best moments of Atomic Blonde, I would very much like to see a series of films in which Charlize Theron’s ruthless, brutal and glamorous secret agent dispatches a variety of Cold War-era enemies to the accompaniment of hit songs from the 80s.
    • 63 Metascore
    • 95 Alonso Duralde
    I'm Your Woman
    It’s an exciting ride, but with a wallop of genuine feeling underneath that makes it one of this year’s best films.
    • 63 Metascore
    • 73 Alonso Duralde
    Let Him Go
    Let Him Go is a tense genre piece that finds room to build out its characters, and their flaws, between bursts of action and suspense; it’s a tricky combination, but Bezucha manages the balance with real skill.
    • 63 Metascore
    • 75 Alonso Duralde
    Maria
    Maria is most truly involved with its subject when it abandons any impulse to scale her down, to reduce a titan to life-size, and opts instead to remember the singer as grandiose, allowing her memory — and Jolie’s perfectly suited performance of that memory — to fill the biggest screen.
    • 63 Metascore
    • 45 Alonso Duralde
    Hello, My Name Is Doris
    Field uses her considerable powers as an actress to imbue some humanity into Doris, but the film kneecaps her efforts at every turn.
    • 63 Metascore
    • 80 Alonso Duralde
    We Have Always Lived in the Castle
    The performances are buttressed by a production that subtly underscores the intentions of both the characters and the plot, from the costumes by Eimer Ni Mhaoldomhnaigh (“Love & Friendship”) to the score from Andrew Hewitt (“The Stanford Prison Experiment”), which coax the film along to where it’s going without ever being too obvious about it.
    • 63 Metascore
    • 55 Alonso Duralde
    The Devil Wears Prada 2
    The first movie, for all its fluff, gave Miranda that eminently quotable “cerulean sweater” monologue, but this follow-up has nothing as interesting to say about fashion, or journalism, or life as anyone leads it. It’s sending nostalgia down the runway and expecting us to wear it, when the perfectly comfortable original already fits just right.
    • 63 Metascore
    • 65 Alonso Duralde
    Keanu
    This crime comedy doesn’t consistently deliver, but the highs make the lows worth enduring.
    • 63 Metascore
    • 75 Alonso Duralde
    A Haunting in Venice
    Rian Johnson may remain the unchallenged modern master of the whodunnit, but with A Haunting in Venice, Branagh shows more affinity for the genre than ever before. Not since Dead Again has the director so successfully applied his flair for showmanship to the requirements of the murder mystery.
    • 31 Metascore
    • 30 Alonso Duralde
    Teenage Mutant Ninja Turtles
    Teenage Mutant Ninja Turtles is a movie that takes its characters and its premise seriously, until it doesn't, and that operates at two speeds: tortoise (ponderous) and hare (head-spinning).
    • 31 Metascore
    • 5 Alonso Duralde
    Friend Request
    An utterly idiotic movie that uses social media as a conduit for witchcraft and mayhem.
    • 62 Metascore
    • 55 Alonso Duralde
    Solo: A Star Wars Story
    While the movie ends in a way that’s clearly designed to prompt further sequels, we don’t get that prequel X factor that makes us interested in a character arc whose outcome we already know. “Better Call Saul” knows how to do this; “Solo” doesn’t.
    • 62 Metascore
    • 85 Alonso Duralde
    The Good House
    It’s all too rare that audiences are treated to a big-screen examination of a woman’s inner turmoil, let alone a woman in the grandmotherly phase of her life; this one pops with both acrid wit and meaningful drama.
    • 62 Metascore
    • 55 Alonso Duralde
    Godzilla
    Director Gareth Edwards (“Monsters”) gets the money shots right, but neither he nor screenwriter Max Borenstein (working from a story by David Callaham) makes the human characters interesting enough to get us through two mostly Godzilla-free acts.
    • 62 Metascore
    • 62 Alonso Duralde
    Young Woman and the Sea
    Young Woman is a biopic with all sharp edges removed, the kind of non-threatening, inspirational Disney movie that teachers screen for fidgety students on the last day of fourth grade.
    • 62 Metascore
    • 88 Alonso Duralde
    Begin Again
    Begin Again is as uncynical and unironic a film as I've seen in a while, which will no doubt be a turn-off to many. But like a catchy summer jam, it doesn't need to apologize for being exactly what it is, nor do its fans have to feel guilty for getting it stuck in their heads.
    • 62 Metascore
    • 88 Alonso Duralde
    The SpongeBob Movie: Sponge Out of Water
    The jokes are consistently hilarious, with enough variety to tickle the funny bones of old salts and young fishies alike.
    • 62 Metascore
    • 95 Alonso Duralde
    New Order
    If good intentions or even pragmatism aren’t enough to make the wealthy and powerful think about income inequality, New Order suggests, there’s always fear.
    • 62 Metascore
    • 88 Alonso Duralde
    Beetlejuice Beetlejuice
    Perhaps most miraculously, it represents Tim Burton getting his groove back, successfully returning to the dark comedy and outrageous visuals that marked his extraordinary early work.
    • 62 Metascore
    • 50 Alonso Duralde
    The Children Act
    If Emma Thompson can’t make The Children Act...into something interesting and meaningful, then no one can. And she can’t.
    • 62 Metascore
    • 65 Alonso Duralde
    Kong: Skull Island
    It lacks neither fun nor polish, but it has the square tidiness of a compartmentalized fast-food meal.
    • 62 Metascore
    • 75 Alonso Duralde
    Biggie: I Got a Story to Tell
    Biggie: I Got a Story to Tell celebrates an influential musical legacy as well as a complicated life story, with a potent mix of sentiment and aesthetic appreciation.
    • 38 Metascore
    • 40 Alonso Duralde
    Entourage
    Piven’s Ari is so over-the-top in his narcissism and megalomania that he’s fun to watch, but the other lead characters are the kind of bros who should be having drinks thrown in their faces on a regular basis.
    • 51 Metascore
    • 45 Alonso Duralde
    Dumbo
    Neither poignant nor eccentric, this just feels like a lesser 1970s Disney live-action comedy smothered in digital effects.
    • 62 Metascore
    • 80 Alonso Duralde
    The King
    Full of surprises ... It’s a historical piece that defies expectation and offers both the thrills of battle and a thoughtful critique of war and imperialism.
    • 62 Metascore
    • 55 Alonso Duralde
    Cuckoo
    Cuckoo would have benefited from explaining itself much less or much, much more; as it is, it lives in the atmospheric middle of the road, confused by itself.
    • 62 Metascore
    • 50 Alonso Duralde
    Lucy
    Lucy is a confounding experience, but at a brisk 85 or so minutes, it manages not to outstay its welcome. Those not enamored of Besson's particular brand of Euro-schlock grindhouse existentialism, however, may find their brains more stimulated elsewhere.
    • 61 Metascore
    • 32 Alonso Duralde
    The Boxtrolls
    Lacking appealing characters (or character design), this misfire will, with any luck, eventually become a forgotten footnote among the output of a production company that has, up until now, shown real promise at making films that defy the usual tropes and storytelling mechanisms in contemporary family-friendly animation.
    • 73 Metascore
    • 68 Alonso Duralde
    Final Destination: Bloodlines
    Bloodlines reminds us of why these hilarious horrors have been such crowd-pleasers, and why their creators might never call it quits.
    • 61 Metascore
    • 68 Alonso Duralde
    Song Sung Blue
    Is Song Sung Blue shamelessly manipulative in its assault on audiences’ tear ducts and heart strings? Absolutely. Will those qualities make it a whipping boy for contemporary reviews like this one while also turning it into a beloved classic in years to come? It’s entirely possible. Like those Neil Diamond songs, this movie might have a moment where it’s considered a joke or an embarrassment, but eventually, people will come clean about how much they love it.
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