For 323 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.4 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 57
Lowest review score: 0 The Eyes of My Mother
Score distribution:
  1. Negative: 79 out of 323
323 movie reviews
    • 77 Metascore
    • 100 Chuck Bowen
    Every beautiful, resonant image in writer-director Alex Ross Perry's film is fraught with neurotic, diaphanous riddles.
    • 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.
    • 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.
    • 75 Metascore
    • 100 Chuck Bowen
    It movingly posits acting as a metaphor for the search for connection, through visceral texture rather than platitude.
    • 85 Metascore
    • 100 Chuck Bowen
    Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.
    • 80 Metascore
    • 88 Chuck Bowen
    Demon offers a tidal wave of unrelieved longing and regret, with a devilish streak of absurdism.
    • 81 Metascore
    • 88 Chuck Bowen
    Na Hong-jin's The Wailing is a work of thriller maximal-ism, a rare case of more actually being more rather than less.
    • 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.
    • 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.
    • 61 Metascore
    • 88 Chuck Bowen
    Todd Kellstein doesn't allow you to entirely indulge convenient (though understandable and perhaps irresistible) armchair outrage.
    • 60 Metascore
    • 88 Chuck Bowen
    Mike Ott and Nathan Silver's film has a ghostly, tremulous quality that eats under the skin.
    • 83 Metascore
    • 88 Chuck Bowen
    Like Hitchcock, De Palma reveals himself to be guided by an unusual mixture of intuition and intellectualization.
    • 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.
    • 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.
    • 88 Metascore
    • 88 Chuck Bowen
    Director Kasper Collins imbues this documentary with an ambiguous, unsettlingly empathetic emotional force.
    • 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.
    • 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.
    • 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.
    • 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.
    • 76 Metascore
    • 88 Chuck Bowen
    It routinely alternating between episodes that contrast exhilaration with exploitation and damnation.
    • 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.
    • 70 Metascore
    • 88 Chuck Bowen
    The conclusion is a testament to the fact that authentic justice is probably only attainable by accident.
    • 65 Metascore
    • 88 Chuck Bowen
    Marc H. Simon's documentary has the thrust of a great American noir or black comedy.
    • 87 Metascore
    • 88 Chuck Bowen
    Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
    • 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.
    • tbd Metascore
    • 88 Chuck Bowen
    Anocha Suwichakornpong earnestly and ambitiously attempts to redefine cinema’s conventional grasp of consciousness.
    • 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.”

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