For 178 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 4.9 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 Accidental Love
Score distribution:
  1. Positive: 94 out of 178
  2. Negative: 50 out of 178
178 movie reviews
    • 58 Metascore
    • 50 Chuck Bowen
    Hello Lonesome isn't really that much of a movie, but it has something that a number of more polished pictures in the same vein don't: human decency. Sadly, that's noteworthy.
    • 60 Metascore
    • 50 Chuck Bowen
    Writer-director Bernard Rose effectively conjoures an atompshere of poetic stoned-1960s British rebellion, a feeling of woozy, intoxicating possibility that will not-so-eventually be squashed.
    • 50 Metascore
    • 50 Chuck Bowen
    Like many films early in a director's career, it plays more as a sketchbook of intended future endeavors than as a cohesive and fully realized vision in its own right.
    • 63 Metascore
    • 50 Chuck Bowen
    Once it gets its nominal plot and character development out of the way, Bad Posture turns out to be pleasantly surprising.
    • 59 Metascore
    • 50 Chuck Bowen
    The Dead ultimately doesn't have much of a pulse, as it fails to transcend the banality of its inevitable theme.
    • 63 Metascore
    • 50 Chuck Bowen
    Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
    • 39 Metascore
    • 50 Chuck Bowen
    In the end, it feels unavoidably dull, as there isn't much thematic ambiguity to be found in the assertion that humans deserve life that's defined by more than indentured servitude.
    • 73 Metascore
    • 50 Chuck Bowen
    The film is content as it is to run clever one-liners and 19th-century pop-cultural references into the same comedic whirlpool.
    • 63 Metascore
    • 50 Chuck Bowen
    Some will find the film compelling, but underneath the riddles it's basically a self-important proclamation of "who the hell knows?"
    • 56 Metascore
    • 50 Chuck Bowen
    As a sampler course of what it means to court the Michelin honor, Three Stars is enjoyable, but it's simply a collision of details that never entirely converge into a meaningful whole.
    • 69 Metascore
    • 50 Chuck Bowen
    Made with considerable reverence, but it doesn't quite manage to tow a tricky tonal line that's required when working with such sensitive and complicated material.
    • 52 Metascore
    • 50 Chuck Bowen
    Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
    • tbd Metascore
    • 50 Chuck Bowen
    One can't help but sense that underneath the complicated art-house game-playing of Isaki Lacuesta's The Double Steps resides a theme that's sentimental and old-hat.
    • tbd Metascore
    • 50 Chuck Bowen
    The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
    • 28 Metascore
    • 50 Chuck Bowen
    The film belongs to a long tradition of horror films that offensively suggest that all atheists might as well hang a Welcome sign up for the devil.
    • 55 Metascore
    • 50 Chuck Bowen
    A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
    • 62 Metascore
    • 50 Chuck Bowen
    It lacks the fire and eccentricity that we want from our stories of adventurers driven by obsessions that could be seen as egotistical or just plain bonkers.
    • 35 Metascore
    • 50 Chuck Bowen
    A middling genre movie, but it's oddly likable for its conflicted, unresolved tension.
    • 44 Metascore
    • 50 Chuck Bowen
    Sadly, Douglas Tirola's documentary doesn't follow its subjects' advice regarding the refinement of technique.
    • 68 Metascore
    • 50 Chuck Bowen
    After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
    • 51 Metascore
    • 50 Chuck Bowen
    The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
    • 49 Metascore
    • 50 Chuck Bowen
    Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.
    • 52 Metascore
    • 50 Chuck Bowen
    The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
    • 57 Metascore
    • 50 Chuck Bowen
    There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
    • 57 Metascore
    • 50 Chuck Bowen
    There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
    • 28 Metascore
    • 50 Chuck Bowen
    The premise might make sense, if only hypocritically, but the film abandons this already flimsy parody of macho pride disastrously at the last minute.
    • 40 Metascore
    • 50 Chuck Bowen
    A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
    • 52 Metascore
    • 50 Chuck Bowen
    The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
    • 72 Metascore
    • 50 Chuck Bowen
    There's considerable talent on display in Exhibition, but it's the kind of thing people mean when they use the term "art film" as a pejorative.
    • 51 Metascore
    • 50 Chuck Bowen
    The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.

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