Alonso Duralde

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The Film Verdict, The Wrap, TheWrap
For 805 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 2.7 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 The Identical
Score distribution:
  1. Positive: 456 out of 805
  2. Mixed: 216 out of 805
  3. Negative: 133 out of 805
805 movie reviews
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    • 54 Metascore
    • 55 Alonso Duralde
    White Bird
    The film’s intentions are unquestionably noble, but the execution falls wildly short, even with so many talented artists involved.
    • 36 Metascore
    • 15 Alonso Duralde
    The Killer's Game
    The Killer’s Game gets credit for letting Budapest be Budapest, rather than trying to pass it off as a featureless European metropolis, but that’s about the only way in which the movie avoids the generic.
    • 65 Metascore
    • 55 Alonso Duralde
    Transformers One
    It proves that this mechanized world and its inhabitants are better suited to cartoon form than the headache-inducing Michael Bay movies, but it’s ultimately another piece of elaborate fan service that will bore the uninitiated.
    • 85 Metascore
    • 78 Alonso Duralde
    The Wild Robot
    It’s a delicate piece of storytelling, one where the poignancy never feels forced and where the comedy springs from its characters rather than pop-culture references or lazy scatology.
    • 60 Metascore
    • 65 Alonso Duralde
    Wolfs
    The film ultimately exists as a delivery device for Clooney and Pitt to engage in prickly banter and deadpan wisecracking. Any ideas deeper than that are rejected like an unsuitable liver.
    • 75 Metascore
    • 55 Alonso Duralde
    The Order
    As a procedural, it’s by-the-numbers. If it’s supposed to be a character study, the characters are TV-familiar.
    • 79 Metascore
    • 95 Alonso Duralde
    Babygirl
    Babygirl is the rare adult drama that understands that complicated characters can be likable, even if their behavior is sometimes decidedly unlikable; it addresses power and gender dynamics in ways that avoid easy, post-#metoo buzzwords; and it’s going to lead to some really interesting post-screening date-night discussions.
    • 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.
    • 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.
    • 66 Metascore
    • 86 Alonso Duralde
    Blink Twice
    Blink Twice emerges as a true late-summer surprise, a witty genre film with more on its mind than surface excitement, that draws its sense of dread out of real-world pain without ever exploiting that pain, that serves as an evergreen reminder that if the party seems too good to be true, it is.
    • 64 Metascore
    • 68 Alonso Duralde
    Alien: Romulus
    The slime and the shadows and the silences are back. Horror DNA is honored rather than pointlessly duplicated. This time, at least, IP familiarity breeds contentment.
    • 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.
    • 52 Metascore
    • 35 Alonso Duralde
    Trap
    Usually, the architecture of a thriller involves introducing a complicated scenario and then slowly but surely ratcheting up the tension; with Trap, Shyamalan has chosen to set it and forget it, spelling out the circumstances of the titular snare and then rarely bothering to introduce new elements or to elevate the suspense.
    • 56 Metascore
    • 66 Alonso Duralde
    Deadpool & Wolverine
    While Ryan Reynolds still seems to be having fun playing the cheeky mercenary, both the inside-baseball comedy and the cartoonishly bloody mayhem wear out their welcomes in the film’s final third.
    • 52 Metascore
    • 45 Alonso Duralde
    Despicable Me 4
    Despicable Me 4 plays like an assemblage of note cards that have been stapled together in a rough approximation of a screenplay. There are about 20 different plot threads that aren’t woven together as much as they’re shoved into one ungainly knot.
    • 68 Metascore
    • 55 Alonso Duralde
    A Quiet Place: Day One
    The pleasurable jolt of a silent scare has given way to predictability.
    • 70 Metascore
    • 78 Alonso Duralde
    The Bikeriders
    Even if the only way to endow 1960s biker gangs with a sense of majesty and glory is to compare them to what would come later, Nichols captures those moments of fleeting greatness, allowing his lost men room to inhabit their own private inventions, to build their subculture and its mythologies, if only for a short time.
    • 73 Metascore
    • 88 Alonso Duralde
    Inside Out 2
    By necessity, Inside Out 2 goes to even more complicated places than its predecessor, but it does so with real understanding, illustrating the ways that leaving childhood behind and forming the earliest stages of what will become an adult identity can be both liberating and terrifying, exhilarating and mortifying.
    • 54 Metascore
    • 25 Alonso Duralde
    Bad Boys: Ride or Die
    The fourth film of a franchise that probably should have packed it in at least two movies ago, this by-the-numbers sequel offers absolutely nothing unexpected, starting with its opening beaches-and-bikinis montage to the climactic standoff with the villain.
    • 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.
    • 46 Metascore
    • 35 Alonso Duralde
    IF
    It’s an earnest attempt at a warm embrace that squeezes the life and charm out of itself.
    • 79 Metascore
    • 60 Alonso Duralde
    Furiosa: A Mad Max Saga
    We’ve truly been down this road before, and none of Miller’s many talents can overcome the sense of familiarity that he’s already done all of this, and better.
    • 66 Metascore
    • 55 Alonso Duralde
    Kingdom of the Planet of the Apes
    For all its craft, though, Kingdom of the Planet of the Apes never finds the “aha” moment that justifies returning to the well for reasons more pressing than branding and global markets.
    • 73 Metascore
    • 78 Alonso Duralde
    The Fall Guy
    At 126 minutes, The Fall Guy overstays its welcome for a bit, but the stunts, the comedy, and the spark between the film’s dynamic leads make the movie a delectable kick-off to the popcorn pleasures of the summer-movie season.
    • 55 Metascore
    • 70 Alonso Duralde
    The Ministry of Ungentlemanly Warfare
    Ministry works best when it chucks history out the window and leans into cinematic silliness.
    • 82 Metascore
    • 100 Alonso Duralde
    Challengers
    It’s a collective simmer of sight, sound, sweat, and sensation about fascinating, complex people pushed through their paces on and off the court.
    • 75 Metascore
    • 65 Alonso Duralde
    Civil War
    Civil War ultimately risks nothing and subsequently says nothing; it’s a thrilling war picture cosplaying as an examination of the zeitgeist.
    • 70 Metascore
    • 85 Alonso Duralde
    Monkey Man
    What Patel has crafted delivers both kinetic action and real-world relevance, an exceedingly rare combination.
    • 47 Metascore
    • 68 Alonso Duralde
    Godzilla x Kong: The New Empire
    If Hollywood insists on continuing its own separate monsterverse, it could do worse than GxK, a film where giant beasts wallop the tar out of each other with thrilling efficacy.
    • 46 Metascore
    • 55 Alonso Duralde
    Ghostbusters: Frozen Empire
    The new Spenglers have the potential to be as memorable as the original cadre of Ghostbusters, but between the cameos by the 1984 cast (whom the film uses more as goodwill ambassadors than like the talented comic actors they still are) and the callbacks to Slimer and the Stay-Puft Marshmallow Man, they tend to feel like afterthoughts.
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