For 168 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 5.4 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Drug War
Lowest review score: 0 33 Postcards
Score distribution:
  1. Positive: 88 out of 168
  2. Negative: 49 out of 168
168 movie reviews
    • 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
    Elena is a film deeply concerned with class resentment, but the filmmakers' attitude toward their titular character is disconcerting and even shocking.
    • 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.
    • 87 Metascore
    • 63 Chuck Bowen
    There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
    • 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.
    • 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.
    • 86 Metascore
    • 63 Chuck Bowen
    Paolo Sorrentino's film is really just a huge turn-on that has the bad manners to go sour, succumbing to its own self-delusions of moral/political grandeur.
    • 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.
    • 85 Metascore
    • 63 Chuck Bowen
    Farhadi navigates his complicated narrative thicket with an apparent ease that confirms yet again that he's an amazing talent, but here he isn't able to blend the brushstrokes as he has in prior films.
    • 85 Metascore
    • 63 Chuck Bowen
    This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
    • 84 Metascore
    • 63 Chuck Bowen
    The film preaches resolutely to the choir, and cinephiles in sync with the film's politics may still blanch at how snugly their interests are courted.
    • 81 Metascore
    • 75 Chuck Bowen
    Aarón Fernández captures one of the most heartening elements of sex: that it doesn't always oblige our rules or expectations.
    • 81 Metascore
    • 63 Chuck Bowen
    A Simple Life may have one of the most accurate titles in all of cinema, as the film has a bracingly casual sense of day-to-day working-class life that recalls the films of Jean Renoir or, more recently, Olivier Assayas.
    • 81 Metascore
    • 38 Chuck Bowen
    Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
    • 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
    Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.
    • 79 Metascore
    • 75 Chuck Bowen
    It compellingly captures a family wrestling mightily with the riddles and contradictions of a culture that promotes achievement at all costs with little thought as to what that actually means.
    • 77 Metascore
    • 75 Chuck Bowen
    Director Mahmoud Kaabour is Fatima's grandson, and she instantly seizes on--lightly, in her way--the guilt and panic that's inspired him to make this film.
    • Slant Magazine
    • 77 Metascore
    • 75 Chuck Bowen
    Each of the six vignettes that make up this unusually energetic anthology pertains to the methods of calculated mass dehumanization that are (barely) hidden beneath the practices of social institutions.
    • 76 Metascore
    • 75 Chuck Bowen
    In The Hunter, writer-director Rafi Pitts manages an atmosphere of choked, ambiguous dread, somehow naturalistic and hallucinatory at once, that recalls nothing less than Godard's Alphaville.
    • 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.
    • 76 Metascore
    • 75 Chuck Bowen
    The film is in part an exceedingly black comedy that parodies proper society's eager, self-righteous naïveté on the subject of its children.
    • 76 Metascore
    • 63 Chuck Bowen
    You grow to feel as if you're arbitrarily changing the channel back and forth from a diverting horror film to a promising odd-couple comedy.
    • 76 Metascore
    • 63 Chuck Bowen
    It's informed with a subtle but disquieting subtext that insists on the pitfalls of allowing ideology to steer you away from common sense.
    • 75 Metascore
    • 63 Chuck Bowen
    Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
    • 75 Metascore
    • 75 Chuck Bowen
    The doc is a sly, interesting achievement: It opens as an entertaining sports story and closes as a metaphor for government corruption.
    • 75 Metascore
    • 88 Chuck Bowen
    The film's plot isn't unusual, but director Ron Morales strips it down to its primal essence.
    • 74 Metascore
    • 63 Chuck Bowen
    Fake It So Real has been made with considerable more polish than other do-it-yourself documentaries such as "Total Badass," but the sensibility is similar.
    • 74 Metascore
    • 75 Chuck Bowen
    Jody Lee Lipes shapes the footage into an intimate symphony of poetically shaped bodies that contrast poignantly with uncertain faces.
    • 74 Metascore
    • 75 Chuck Bowen
    The film often suggests a less defiant cover of The Defiant Ones, yet it's a must-see for Viggo Mortensen's characteristically wonderful performance.

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