For 312 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: 56
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 79 out of 312
312 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.
    • 88 Metascore
    • 75 Chuck Bowen
    The film's highpoint is one of the most remarkably moving sex scenes in all of American cinema, and the irony of it involving bland puppets is hardly lost on Kaufman and Johnson.
    • 87 Metascore
    • 88 Chuck Bowen
    Aquarius is a critique of a daydream that has the imaginative daring to live that very dream anyway.
    • 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
    • 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
    • 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
    • 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.
    • 86 Metascore
    • 75 Chuck Bowen
    A pointed simplicity governs Michael Dudok de Wit's The Red Turtle, one that’s traditional of many survival tales.
    • 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
    Asghar Farhadi's film yields a tonal and emotional friction that's simultaneously tragic, transcendent, and comic.
    • 86 Metascore
    • 75 Chuck Bowen
    The plaintive plain-spokenness of the interviewees, the way they matter-of-factly speak of atrocity, is transcendent and intensely haunting.
    • 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
    • 75 Chuck Bowen
    With The Handmaiden, Park Chan-wook has made a gigantic leap as an artist, but he retreats to lurid cartoonishness just as he’s earned your trust.
    • 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.
    • 83 Metascore
    • 88 Chuck Bowen
    Like Hitchcock, De Palma reveals himself to be guided by an unusual mixture of intuition and intellectualization.
    • 83 Metascore
    • 75 Chuck Bowen
    It displays an intimate chemical understanding of the exhausting and unrelentingly impotent agony of failure.
    • 82 Metascore
    • 75 Chuck Bowen
    Every moment in writer-director Grímur Hákonarson's strange and wonderful film is imbued with mystery and revealing dignity.
    • 81 Metascore
    • 75 Chuck Bowen
    Aesthetically, the film cunningly suggests life that exists solely within an academic experiment, closed off from chaos that isn't manufactured.
    • 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.
    • 81 Metascore
    • 88 Chuck Bowen
    The film has an artisanal intensity that prevents it from turning into a smug and predictable exercise in political revision.
    • 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.
    • 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
    It infuses an outdoorsy survival tale and a coming-of-age story of friendship with Taika Waititi's penchant for distaff flakiness.
    • 81 Metascore
    • 38 Chuck Bowen
    Maybe Battle Royale's ultimate punchline is its inexplicable ability to fool some people into taking it seriously.
    • 81 Metascore
    • 75 Chuck Bowen
    A zig-zagging, free-associational genre item that's mostly concerned with stretching the generally narrow tonal rules of what a thriller can be.
    • 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.
    • 80 Metascore
    • 75 Chuck Bowen
    It grows increasingly hopeless as it contrasts the alien paradise of the opening with the wastelands that resemble corporate dump sites.

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