Alonso Duralde
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For 81 reviews, this critic has graded:
  • 44% higher than the average critic
  • 1% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Alonso Duralde's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 A Summer's Tale
Lowest review score: 0 The Identical
Score distribution:
  1. Positive: 32 out of 81
  2. Negative: 16 out of 81
81 movie reviews
    • 87 Metascore
    • 100 Alonso Duralde
    You don't have to like punk rock to fall in love with We Are the Best!; if a more joyous film comes along in 2014, then it's a good year indeed.
    • 81 Metascore
    • 100 Alonso Duralde
    Hardy might be past needing a star-making performance, but this is the kind of work that raises him to highest echelon of actors working in film today. He and Knight remind us that artists can astonish with the simplest of methods.
    • 100 Metascore
    • 100 Alonso Duralde
    As he has throughout his career, from “Slacker” and “Dazed and Confused” to the lovely “Bernie” to the “Before” trilogy, Linklater proves himself as a filmmaker unconcerned with flash and dazzle but thoroughly compassionate and empathetic to a wide range of characters.
    • 91 Metascore
    • 100 Alonso Duralde
    Whether it's the closest you'll get to the beach this year, or you have to tear yourself away from the dunes to enjoy it, it's an essential part of any movie-lover's summer.
    • 76 Metascore
    • 92 Alonso Duralde
    The only agenda of this scruffy and urbane comedy, about a young comic contemplating abortion, is to be true and funny.
    • 70 Metascore
    • 92 Alonso Duralde
    Like so many memorable yet hard-to-describe movies, Why Don't You Play in Hell? takes a ridiculous concept and commits to it fully. You might laugh with surprise or shriek in horror — both, most likely — but you certainly won't dismiss it.
    • 86 Metascore
    • 91 Alonso Duralde
    The pacing, the performances (Albert Brooks is a stand-out as Abel's lawyer), and every facet of the production serves the story and the film's larger ideas.
    • 89 Metascore
    • 90 Alonso Duralde
    The director has wisely assembled an ensemble of performers who know how to handle a long take; this will certainly rank among Keaton's career highlights — in a role that allows him to completely dump out his paintbox and show a vast range of emotion — but everyone shines.
    • 87 Metascore
    • 90 Alonso Duralde
    Whiplash redefines the teacher movie (to say nothing of the young-musician movie) with a brutal energy and no easy resolutions. It's a challenging tune that will nonetheless get stuck in your head.
    • 88 Metascore
    • 90 Alonso Duralde
    Citizenfour finds its strength in both the story and the telling: The information about government spying is chilling, of course, but the movie also gives us the opportunity to get to know the elusive Snowden.
    • 74 Metascore
    • 89 Alonso Duralde
    Sweet and sharp and exciting and hilarious, Big Hero 6 comes to the rescue of what's become a dreaded movie trope — the origin story — and launches the superhero tale to pleasurable new heights.
    • 67 Metascore
    • 88 Alonso Duralde
    The Book of Life manages to be genuinely surprising and engrossing.
    • 67 Metascore
    • 88 Alonso Duralde
    Marshall deserves credit for knowing how to shoot and cut (alongside editor Wyatt Smith, “Thor: The Dark World”) a musical number, and his work here ranks much closer to his success with “Chicago” than to his dismal “Nine.”
    • 71 Metascore
    • 88 Alonso Duralde
    Get on Up belongs, as it must, to Boseman, who delivers the kind of charisma, showmanship, sex appeal, and tireless energy that allows us to believe him as the Hardest Working Man in Show Business.
    • 62 Metascore
    • 88 Alonso Duralde
    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
    Green operates in a smarter mode of storytelling, giving the audience the benefit of the doubt that they'll notice the details, and he's clearly whispered Pacino into giving a nuanced and human-sized turn.
    • 87 Metascore
    • 87 Alonso Duralde
    Writer-director Ruben Ostlund (“Play”) brilliantly mines this dark material for awkward hilarity.
    • 71 Metascore
    • 85 Alonso Duralde
    For a film about repetition, Edge of Tomorrow never feels tired or familiar.
    • 69 Metascore
    • 85 Alonso Duralde
    Coppola doesn't let these kids off the hook for their stupid decisions, of which they make many, but she's not judging them for their folly, either. Unchecked privilege and clueless parents are trotted out as part of the problem, but Coppola seems more interested in exploring human frailty and vulnerability than she is in digging for a social statement.
    • 64 Metascore
    • 83 Alonso Duralde
    Suffice it to say that while Mockingjay, Part 1 might not be as consistently thrilling as “Catching Fire” — the second movie always has the luxury of being all PB&J and no crust — it's the movie equivalent of a page-turner, consistently suspenseful and filled with surprises and illuminating character moments.
    • 75 Metascore
    • 82 Alonso Duralde
    Winterbottom and cinematographer James Clarke use the gloss of both food porn and travel porn to occasionally distract us from the darker elements of the story, in the same way that Coogan and Brydon will turn to humor to lighten up their roiling inner conflicts. In this case, however, both the sugar coating and the bitter pill are a treat.
    • 76 Metascore
    • 82 Alonso Duralde
    Those willing to commit to a fascinating story about talented and intelligent people who can also be selfish, vulnerable, strong-headed, short-sighted, and emotionally needy, however, will want to pull this one off the shelf.
    • 76 Metascore
    • 82 Alonso Duralde
    For director Jean-Marc Vallée, the film's smarts and soulfulness give him a leap upward from “Dallas Buyers Club” that puts him head-to-head with Tate Taylor (“Get On Up”) as 2014's Most Improved Filmmaker. The other big surprise of Wild turns out to be Reese Witherspoon, going far from her usual comfort zone here.
    • 73 Metascore
    • 80 Alonso Duralde
    Hoffman doesn't get a lot of flashy, awards-show-clip moments, but he's all the more engrossing for underplaying and revealing volumes with the slightest of reactions and inflections.
    • 87 Metascore
    • 80 Alonso Duralde
    Life Itself paints a captivating portrait of a man who embraced life and art, whose spirit never flagged even when his body did. You don't have to be a film critic to find inspiration from Roger Ebert's extraordinary life.
    • 61 Metascore
    • 77 Alonso Duralde
    Ultimately, the strengths of Unbroken far outweigh its flaws.
    • 79 Metascore
    • 75 Alonso Duralde
    At its best moments, Pride makes the chest flutter and the neck hairs stand up with the revolutionary adrenaline that comes from a potent protest song.
    • 68 Metascore
    • 70 Alonso Duralde
    The Disneynature movies shouldn't be mistaken for traditional documentary, but if they act as a gateway drug for young children to learn more about the animal kingdom — and to open themselves up to more informative non-fiction cinema — then the films are serving a real purpose.
    • 46 Metascore
    • 70 Alonso Duralde
    Much of what makes Horns so impressive, and such fun to watch, is the film's ability to juggle a variety of genres.
    • 74 Metascore
    • 67 Alonso Duralde
    While there are fun moments and a continuation of the franchise's main idea — Professor X's peace, love and understanding vs. Magneto's fight the power — Days of Future Past ends up feeling more exhausting than exuberant.

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