For 314 reviews, this critic has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 4.8 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Laurence Anyways
Lowest review score: 0 Skin Trade
Score distribution:
  1. Negative: 79 out of 314
314 movie reviews
    • 65 Metascore
    • 50 Chuck Bowen
    It suggests that Kris Swanberg has taken notes on what a film concerned with pregnancy should include without actually making it.
    • 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.
    • 37 Metascore
    • 50 Chuck Bowen
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
    • 51 Metascore
    • 50 Chuck Bowen
    Gregg Araki's film suggests a hothouse melodrama that's been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
    • 46 Metascore
    • 50 Chuck Bowen
    It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
    • 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.
    • 67 Metascore
    • 50 Chuck Bowen
    Director Chuck Workman's simply compiles Welles's greatest moments, offering little in the way of an authorial point of view.
    • 36 Metascore
    • 50 Chuck Bowen
    The film has the plot of an intensely lurid thriller, but Atom Egoyan can't bring himself to face that and actively tend to the story; instead, he trades in barely coherent, high-brow euphemisms.
    • 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.
    • 44 Metascore
    • 50 Chuck Bowen
    Sadly, Douglas Tirola's documentary doesn't follow its subjects' advice regarding the refinement of technique.
    • 58 Metascore
    • 50 Chuck Bowen
    Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
    • 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.
    • 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?"
    • 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.
    • 50 Metascore
    • 50 Chuck Bowen
    The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Chuck Bowen
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
    • 59 Metascore
    • 50 Chuck Bowen
    The film is taken with comfy gags that celebrate these men's ownership of pop culture, filtering them through a lens of unrevealing caricature.
    • 34 Metascore
    • 50 Chuck Bowen
    The film is impersonal and populated with wisps of characters who spend most of the running time wandering around in the dark yelling at one another.
    • 77 Metascore
    • 50 Chuck Bowen
    The film interprets itself, offering an essay on rape and gender fluidity that locks us out of the cognitive process of digesting it.
    • 49 Metascore
    • 50 Chuck Bowen
    The filmmakers exhibit no interest in watching the story's central wolves wiggle out of the trap they've potentially set for themselves.
    • 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.
    • 54 Metascore
    • 50 Chuck Bowen
    The film is one long funereal slog in which the main character discovers something about herself that's almost immediately apparent.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Chuck Bowen
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
    • 65 Metascore
    • 50 Chuck Bowen
    The film's notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
    • 33 Metascore
    • 50 Chuck Bowen
    The film is just another fantasy of living only the good portions of the life of an artist.
    • 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.

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