Alonso Duralde

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For 553 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 1.2 points lower than other critics. (0-100 point scale)

Alonso Duralde's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Locke
Lowest review score: 0 The Emoji Movie
Score distribution:
  1. Negative: 95 out of 553
553 movie reviews
    • 66 Metascore
    • 88 Alonso Duralde
    This time around, writer-director Tim Hill steps in, and he’s managed to take the goofy denizens of Bikini Bottom on a road trip that is visually dazzling and almost consistently hilarious, mixing verbal and physical humor, as well as some perfectly chosen cameos, both in-person and among the voice cast.
    • 88 Metascore
    • 90 Alonso Duralde
    The Father is an unsettling film, but it’s also a compassionate one; family members of those suffering with dementia can turn to it for an empathetic portrait of how that disorientation must feel on the inside. It’s one of the most disturbing films in recent memory, but it’s both understanding and unforgettable.
    • 46 Metascore
    • 50 Alonso Duralde
    From its facile depiction of the role of incarceration in the rehab process — addiction is a health issue that we keep mistakenly treating as a criminal issue — to the under-writing of the characters, what should be a harrowing drama instead comes off as an anti-drug pamphlet.
    • 61 Metascore
    • 75 Alonso Duralde
    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.
    • 54 Metascore
    • 65 Alonso Duralde
    The United States vs. Billie Holiday never completely works as a drama, but it does ultimately succeed in two important ways: The film provides a launchpad for Andra Day’s exceptional acting talents as well as her gifts as a singer, and enriches the public understanding of Holiday’s persecution, funded by taxpayer dollars, for daring to speak truth to power through her art.
    • 64 Metascore
    • 88 Alonso Duralde
    All comedy is subjective, of course, and Barb & Star Go to Vista Del Mar is aggressive in being true to itself and its own vision. Those not on board will roll their eyes and wonder what the fuss is about, while fans will watch it repeatedly, quote it forever, and dress as the characters for Halloween.
    • 61 Metascore
    • 62 Alonso Duralde
    Tweens who are less familiar with temporal-anomaly cinema and TV will no doubt be entranced by this concept and by the talented cast that brings it to fruition. More seasoned viewers who have seen this kind of thing before have seen this kind of thing before, have seen this kind of thing before.
    • 74 Metascore
    • 85 Alonso Duralde
    It’s not an exposé on what pornography does to women as much as a harrowing examination of what the workplace expects and allows from women and men.
    • 66 Metascore
    • 90 Alonso Duralde
    It’s bright and witty and packed with laughs, but those laughs stem from real empathy and understanding of its characters.
    • 54 Metascore
    • 45 Alonso Duralde
    While the film far outshines most of Cage’s recent efforts (he was direct-to-VOD when direct-to-VOD wasn’t cool) in terms of art direction and fearlessly madcap storytelling, the results are nonetheless muddled and messy.
    • 73 Metascore
    • 83 Alonso Duralde
    One of the best things that can be said about On the Count of Three is that it forces viewers to dispel any certainty that its protagonists won’t wind up dead at the end, which provides the film with both integrity and unpredictability.
    • 78 Metascore
    • 50 Alonso Duralde
    Actor-turned-filmmaker Fran Kranz’s choice of subject matter for his feature debut is certainly timely and provocative, but the emotions are too big and too messily human to fit into the tight box he has constructed to contain them.
    • 78 Metascore
    • 80 Alonso Duralde
    This time out, the writer-director (in collaboration with animation director Jane Samborski) is even more assured as both a storyteller and as a crafter of images, be they outrageous or gorgeous, haunting or hilarious.
    • 73 Metascore
    • 45 Alonso Duralde
    If the script undercuts the enormity of what their characters are enduring, the two lead actors rescue the film from utter negligibility.
    • 54 Metascore
    • 30 Alonso Duralde
    Overall, The Little Things — which is how Deke refers to the details that lead to killers being caught — isn’t much of anything.
    • 53 Metascore
    • 76 Alonso Duralde
    This is the kind of screenplay that offers juicy opportunities for actors, and Zendaya and Washington leave nothing on the floor.
    • 81 Metascore
    • 80 Alonso Duralde
    MLK/FBI demonstrates documentary film’s ability to assemble and contextualize historical facts in a provocative and insightful way, and it’s a perfect launching pad for further exploration of the government’s assault on dissent and civil rights, not to mention the news and entertainment media’s acquiescence in being used as a propaganda arm.
    • 44 Metascore
    • 90 Alonso Duralde
    It’s a daring mix of genres, but it works, as though Noah Baumbach had been called in to do a rewrite on “How to Steal a Million.” Steven Knight wrote and directed one of the best (“Locke”) and worst (“Serenity”) films of the last decade, but when he is good, he is very, very good, and his skillful handing of relationships and claustrophobia and corporate-speak is matched by Liman’s ability to bring all of this to fruition.
    • 53 Metascore
    • 55 Alonso Duralde
    Perhaps the biggest issue for The Mauritanian is that the screenplay by M.B Traven and Rory Haines and Sohrab Noshirvani tries to accommodate too many protagonists.
    • 44 Metascore
    • 45 Alonso Duralde
    Neeson has certainly starred in worse action vehicles than The Marksman, but rarely have they been more forgettable.
    • 76 Metascore
    • 85 Alonso Duralde
    The White Tiger illustrates the extremes to which the poor are driven to violate the rigid class structure of India, with the implication that our hero and his methodology is perhaps the face of post-superpower capitalism itself.
    • 66 Metascore
    • 78 Alonso Duralde
    Shadow in the Cloud has that boisterous B-movie energy, and it’s a reminder that narrative shamelessness is permissible, even welcome, in the hands of an assured storyteller.
    • 74 Metascore
    • 80 Alonso Duralde
    Between the scorching chemistry of leads Tessa Thompson and Nnamdi Asomugha and the glorious mid-century outfits, hair, décor and cars on display, Sylvie’s Love is a delectable valentine.
    • 64 Metascore
    • 60 Alonso Duralde
    For most of its running time, it has a palpable B-movie energy that gives a little oomph to the umpteenth cinematic portrayal of humanity’s end.
    • 60 Metascore
    • 78 Alonso Duralde
    While the reteaming of Gal Gadot and director Patty Jenkins provides the expected thrills and excitement, this sequel shares the significant flaw of its predecessor: Both films graft an unwieldy and effects-heavy finale onto a movie that had managed to create relatable characters and situations, even when both are larger than life.
    • 73 Metascore
    • 80 Alonso Duralde
    News of the World nestles comfortably not only in the canon of the Western but also among the films by European artists who make a movie in the United States and find themselves overwhelmed by all that space. To his credit, Greengrass finds an emotionally engaging way to fill it.
    • 27 Metascore
    • 30 Alonso Duralde
    It’s not inherently misguided to use a current tragedy as the jumping-off point of a genre movie, but any filmmaker who decides to do so had better create something provocative or interesting or at least competent to justify it.
    • 45 Metascore
    • 65 Alonso Duralde
    Whether or not the word “whimsy” makes you flinch is probably a fair indicator of whether Wild Mountain Thyme is for you, but if you’re looking for the cinematic equivalent of a hot cup of tea on a blustery day, you might find yourself developing a taste for its particular brand of quirky romance.
    • 58 Metascore
    • 66 Alonso Duralde
    There’s a lot that’s frustrating about George Clooney’s new film The Midnight Sky, from its egregious borrowing from any number of better movies to its pacing issues, but thanks to a few grace notes, its shortcomings are mostly forgivable.
    • 87 Metascore
    • 92 Alonso Duralde
    McQueen and co-writer Alastair Siddons capture that sense that the children of immigrants often have of living with one foot in their adopted country and one in their parents’ homeland.

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