For 270 reviews, this critic has graded:
  • 43% higher than the average critic
  • 1% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 5.3 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Drug War
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
  1. Negative: 71 out of 270
270 movie reviews
    • 63 Metascore
    • 100 Chuck Bowen
    The Nine Muses is the kind of nonfiction film I actively hope for: a picture of intuitive, free-associational power that cuts far deeper emotionally than a dry recitation of dates and facts could ever hope to.
    • 73 Metascore
    • 100 Chuck Bowen
    It takes cojones for a filmmaker to chase Fassbinder's ghost, but it takes heart and talent to damn near catch up with it.
    • 86 Metascore
    • 100 Chuck Bowen
    The film is a singularly huge, relentless, all-encompassing set piece that mutates and spasms with terrifying lack of foresight. It's all business, business, business.
    • 77 Metascore
    • 100 Chuck Bowen
    Every beautiful, resonant image in writer-director Alex Ross Perry's film is fraught with neurotic, diaphanous riddles.
    • 65 Metascore
    • 88 Chuck Bowen
    Marc H. Simon's documentary has the thrust of a great American noir or black comedy.
    • 70 Metascore
    • 88 Chuck Bowen
    The conclusion is a testament to the fact that authentic justice is probably only attainable by accident.
    • 87 Metascore
    • 88 Chuck Bowen
    Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
    • 61 Metascore
    • 88 Chuck Bowen
    Todd Kellstein doesn't allow you to entirely indulge convenient (though understandable and perhaps irresistible) armchair outrage.
    • 75 Metascore
    • 88 Chuck Bowen
    The film's plot isn't unusual, but director Ron Morales strips it down to its primal essence.
    • 80 Metascore
    • 88 Chuck Bowen
    On the surface, Peter Strickland's film is an amusing black comedy that parodies the horror movie's continual status as the cultural black sheep of the cinematic landscape, but the filmmaker is most prominently concerned with painting a sonic portrait of alienation.
    • 76 Metascore
    • 88 Chuck Bowen
    Eliza Hittman's film captures the exclusive properties of sex with a degree of intimacy and empathy that, at times, feels authentically revelatory.
    • 86 Metascore
    • 88 Chuck Bowen
    We're simply presented a person in trouble, and we're allowed to recognize his problems as extreme embodiments of universal issues of terror, confusion, and loneliness.
    • 70 Metascore
    • 88 Chuck Bowen
    Joe Swanberg's films have grown into a reliable relief from the competitive, dehumanizing freneticism of much of American culture, marked by an affirming and understated sense of decency.
    • 70 Metascore
    • 88 Chuck Bowen
    Alain Resnais's overpoweringly beautiful final film dares to push through the ghosts that inhabit the present, standing between the pessimism of an ill-spent past and the optimism of an undefined future.
    • 72 Metascore
    • 88 Chuck Bowen
    Clint Eastwood startlingly grips the audience with his sense of hypnotic silence, which carries suggestions of what might be termed politically apolitical pragmatism.
    • 92 Metascore
    • 88 Chuck Bowen
    Andrey Zvyagintsev never loses sight of the humans, who're allowed to display improvisatory behavior that deepens the majesty of the rigorously orchestrated tableaus.
    • 87 Metascore
    • 88 Chuck Bowen
    Peter Strickland charges full-tilt into the objectifying whims of his fantasies in order to somehow reach the other end of perception, which acknowledges the ultimate empathetic limitations of said fantasies.
    • 52 Metascore
    • 88 Chuck Bowen
    A dizzying hall-of-mirrors stunt, a horror remake as autobiographical X-ray, and a work of fantasy that serves as a decadently cleansing creative exorcism.
    • 68 Metascore
    • 88 Chuck Bowen
    The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.
    • 71 Metascore
    • 88 Chuck Bowen
    The film's peculiarly exhilarating effect can be attributed to a sense of social outrage that's transcended for the sake of metaphoric social clarity.
    • 87 Metascore
    • 88 Chuck Bowen
    Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
    • 80 Metascore
    • 88 Chuck Bowen
    Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.
    • 73 Metascore
    • 88 Chuck Bowen
    Andrew Bujalski seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating significant interpersonal connections.
    • 68 Metascore
    • 88 Chuck Bowen
    Appropriately, the images in the film, the most fluidly beautiful and resonant of Nathan Silver's career thus far, suggest flashes of memory relived from the vantage point of the future.
    • 68 Metascore
    • 88 Chuck Bowen
    As in Rodney Ascher's previous film, Room 237, the subject of obsession is complemented by a despairing attempt to process it, corral it, and somehow conquer it.
    • 70 Metascore
    • 88 Chuck Bowen
    It elegantly evolves from an absurdist comedy into a remarkably wounded and uprooted story of friends who're beginning to tire of their shared social cocoons.
    • 69 Metascore
    • 88 Chuck Bowen
    Reminiscent of Woody Allen's great, under-sung Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
    • 81 Metascore
    • 88 Chuck Bowen
    Coming Home is a film in which everyone's dreams are irrevocably broken, the pieces too small to grasp, let alone pick up.
    • 74 Metascore
    • 88 Chuck Bowen
    It exhibits the spry subtlety of Jean and Luc Dardenne's films, and, consequently, it's possible that it will be similarly mistaken for a work of “naturalism.”
    • 80 Metascore
    • 88 Chuck Bowen
    Everything in the film is understood to be a subsumed sex act, with actual sex serving as a contextualizing catharsis.

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