Alonso Duralde

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The Wrap, TheWrap
For 614 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 1.5 points lower than other critics. (0-100 point scale)

Alonso Duralde's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Little Women
Lowest review score: 0 Love, Weddings & Other Disasters
Score distribution:
  1. Positive: 350 out of 614
  2. Mixed: 157 out of 614
  3. Negative: 107 out of 614
614 movie reviews
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    • 80 Metascore
    • 60 Alonso Duralde
    Top Gun: Maverick
    In the end, Top Gun: Maverick counts as a worthy sequel in that it succeeds and fails in many of the same ways as the original. It’s another cornball male weepie and military recruitment ad that feels like every WWII movie got fed into an algorithm, and the flying sequences are breathtaking enough to make you forget that these guys and gals are engaging in the kind of combat scenarios that start wars.
    • 60 Metascore
    • 65 Alonso Duralde
    Doctor Strange in the Multiverse of Madness
    The follow-up to 2016’s “Doctor Strange” hits the ooh-and-aah marks we expect from a well-crafted Marvel adventure, but even with Sam Raimi at the helm, this entry goes heavy on the spectacle but light on the humanity.
    • 41 Metascore
    • 0 Alonso Duralde
    Memory
    Memory often feels more like a direct-to-video threequel than an actual movie.
    • 82 Metascore
    • 90 Alonso Duralde
    The Northman
    The Northman is gory, muddy, hallucinatory — and intensely entertaining. An examination of the way that violence begets violence, and a study of how a life devoted to single-minded hatred and vengeance can lead to uncomfortable truths, this is a movie that lives up to every saga comic books and metal bands ever spun about the brutal conquerors of yore.
    • 53 Metascore
    • 78 Alonso Duralde
    Aline
    It fills up the uncharted territory between parody and pure fan service with a guileless weirdness that the biopic genre never knew it could accommodate but, in a post–“Walk Hard” world, could stand to emulate.
    • 35 Metascore
    • 35 Alonso Duralde
    Morbius
    We can confirm that Morbius is, really and truly, a movie. Granted, it’s not much of a movie, but it’s a movie nonetheless.
    • 53 Metascore
    • 65 Alonso Duralde
    Deep Water
    Deep Water offers so many tawdry delights along the way that its flaws aren’t dealbreakers. Affleck and de Armas might not have lasted as a couple off-camera, but as co-stars, they’re a potent combo.
    • 79 Metascore
    • 95 Alonso Duralde
    Apollo 10½: A Space Age Childhood
    Unlike the “memberberries” school of nostalgia that can reduce itself to “I had that lunch box!” Linklater gets granular and specific (and thus universal) about his memories and his perceptions of the world at that time.
    • 83 Metascore
    • 85 Alonso Duralde
    Turning Red
    It’s a film as cuddly as Meimei’s panda form, but it’s also a perceptive examination of how one person’s coming-of-age has a ripple effect on those closest to them.
    • 42 Metascore
    • 75 Alonso Duralde
    Tyler Perry's A Madea Homecoming
    Whether playing off his returning company of co-stars or swapping barbs with fellow drag comic O’Carroll, Perry’s giving one of his best self-directed performances.
    • 61 Metascore
    • 68 Alonso Duralde
    892
    It’s a film that hits some narrative bumps along the way without diminishing its tougher observations about race, the police, and the treatment of veterans.
    • 40 Metascore
    • 20 Alonso Duralde
    The 355
    The 355 is the kind of star-packed, glossy adventure that wants to be the launching pad for a franchise; instead, it’s going to be one of the films most mentioned in future discussions regarding January as a studio dumping-ground for misbegotten movies.
    • 71 Metascore
    • 70 Alonso Duralde
    Spider-Man: No Way Home
    The most superheroic feat on display might be the film’s ability to keep human-sized emotions and relationships front and center even as the very fabric of time and space twists itself into knots.
    • 49 Metascore
    • 20 Alonso Duralde
    Don't Look Up
    A film with all the right things to say about how government, the media, and corporations ignore the emerging disaster of climate change, but couched within a satire so lumbering that it’s enough to turn a tree hugger into a pro-fracker.
    • 85 Metascore
    • 90 Alonso Duralde
    West Side Story
    Spielberg and Kushner clearly revere that history, but they’re also not intimidated by it; there are any number of instances where viewers can point to this song placement or that bit of character backstory as a new idea that the two have brought to the property, but this is a take on “West Side Story” that’s both reverent and exciting.
    • 70 Metascore
    • 55 Alonso Duralde
    Nightmare Alley
    From a rain-soaked carnival midway to a glossy, Art Deco therapist’s office, everything in Guillermo del Toro’s Nightmare Alley looks gorgeous. There just doesn’t seem to be a lot going on under the art direction.
    • 59 Metascore
    • 30 Alonso Duralde
    House of Gucci
    This true-crime saga of the Gucci family losing control of their own fashion empire could have been a full-blown camp classic were it not so frequently dull and tentative.
    • 90 Metascore
    • 100 Alonso Duralde
    Licorice Pizza
    The film rides upon the shoulders of first-timers Haim (Anderson has directed several of her band’s videos) and Hoffman (son of frequent Anderson collaborator, the late Philip Seymour Hoffman), and they’re both thoroughly engaging.
    • 37 Metascore
    • 55 Alonso Duralde
    Red Notice
    Red Notice plays like a parody of itself — a star-studded, globe-trotting heist caper replete with MacGuffins, twists, and double-crosses. And for much of its overstuffed two-hour runtime, it gets away with it.
    • 57 Metascore
    • 50 Alonso Duralde
    Finch
    Apart from the pleasurable specifics of Hanks’ and Landry Jones’ performances (to say nothing of Seamus, the film’s scene-stealing canine co-star), you’ve seen all this before.
    • 75 Metascore
    • 80 Alonso Duralde
    Fever Dream
    Fever Dream delivers its jolts with a whisper and not a scream, and its enigmatic final shot vibrates with a deep sense of dread, one that won’t leave after the lights come up.
    • 78 Metascore
    • 75 Alonso Duralde
    I'm Your Man
    The rom-com veneer acts as the sugar that lets the film’s more serious medicine go down, and Schrader understands this territory well.
    • 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.
    • 72 Metascore
    • 72 Alonso Duralde
    The Mad Women's Ball
    What some might find dramatically unsatisfying about the film’s climax directly comments on the inequities of the era and the limited options offered to women, and there’s no shortage of rich storytelling, acting, and visual potency leading up to it.
    • 83 Metascore
    • 85 Alonso Duralde
    Come from Away
    There are, of course, countless prisms through which to examine the events of 9/11 and their lingering impact, but Come From Away offers one that is stirring and funny, moving but never mawkish. It’s a story that provides hope without turning its eyes from despair.
    • 69 Metascore
    • 75 Alonso Duralde
    Julia
    While it might not be as revolutionary as its subject, Julia celebrates not only the woman but also her joy and passion for the creation and consumption of delicious food. Just be warned: It’s not a film to watch on an empty stomach.
    • 72 Metascore
    • 78 Alonso Duralde
    The Suicide Squad
    The Suicide Squad is by no means perfect, but like the “Deadpool” movies, it’s a showcase for what can happen when a superhero movie is allowed to be sprightly, self-aware, and sardonic while also indulging in hard-R violence, gore, and language. Gunn’ latest creation is not without moments that drag, but when it pops, it pops brilliantly.
    • 36 Metascore
    • 25 Alonso Duralde
    Space Jam: A New Legacy
    Viewers who, for whatever reason, love the first “Space Jam” may well find themselves delighted all over again, but as a once-in-a-lifetime opportunity to plunge a beloved sports figure into a century’s worth of pop culture iconography, “A New Legacy” is a big fat airball.
    • 67 Metascore
    • 74 Alonso Duralde
    Black Widow
    Black Widow reminds us of the pleasure that can be offered by an MCU movie that isn’t having to do the legwork of setting up the next five chapters.
    • 42 Metascore
    • 20 Alonso Duralde
    The Ice Road
    The Ice Road is so often inept and heavy-handed that not even the reliable presence of Liam Neeson can rescue it.
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