For 393 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 4.4 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Unforgiven
Lowest review score: 0 The Eyes of My Mother
Score distribution:
  1. Negative: 90 out of 393
393 movie reviews
    • 49 Metascore
    • 50 Chuck Bowen
    It makes an occasionally spirited pretense of injecting the tensions of the United States's educational system into a familiar zombie-siege scenario.
    • 58 Metascore
    • 50 Chuck Bowen
    Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
    • 77 Metascore
    • 50 Chuck Bowen
    One can chart the very moment that Victoria's existence slips out of the routine into the nightmarish, and there's no escape by temporal omission.
    • 53 Metascore
    • 50 Chuck Bowen
    There's satiric potential here, but Eli Roth's sense of humor abandons him when his hero isn't about to get down with the get down.
    • 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
    The actors have the showmanship to chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
    • 42 Metascore
    • 50 Chuck Bowen
    A blunt satire of the dehumanization inherent in social media that also gets off on said detachment.
    • 66 Metascore
    • 50 Chuck Bowen
    The main character is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency.
    • 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.
    • 47 Metascore
    • 50 Chuck Bowen
    Too much of Noma is composed of gorgeous pillow shots, which grow static and fussy, appearing to exist almost apart from the subject matter.
    • 36 Metascore
    • 50 Chuck Bowen
    Standoff isn’t quite inspired, but it coasts on unexpected modesty of professionalism.
    • 76 Metascore
    • 50 Chuck Bowen
    The legacy of Syd Fields's screenwriting manual hangs over 10 Cloverfield Lane, as it does all of Abrams's productions, which never even accidentally casts a whiff of subtext or authorial personality.
    • 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.
    • 53 Metascore
    • 50 Chuck Bowen
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
    • 32 Metascore
    • 50 Chuck Bowen
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
    • 60 Metascore
    • 50 Chuck Bowen
    The film's aesthetic is striking, but feels almost intangibly derivative, most obviously suggesting an austere cover of Repulsion.
    • 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.
    • 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.
    • 55 Metascore
    • 50 Chuck Bowen
    The film is ultimately stultifying because the disconnection between the various characters is so immediately accepted as such a foregone conclusion that nothing ever seems to be at stake, and the heavily horizontal imagery, though accomplished and evocative, if fussy, only evokes two states of mind: loneliness and disconnection.
    • 57 Metascore
    • 50 Chuck Bowen
    Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
    • 40 Metascore
    • 50 Chuck Bowen
    Its openly mercenary ethos initially scan as a bracing lack of pretense in a market crammed to the gills with insidious faux-sentimentality, but its overstuffed relentlessness proves almost equally tedious.
    • 61 Metascore
    • 50 Chuck Bowen
    The film fails to lift off from this sturdy aesthetic launching pad; it never allows the characters, however stock, to evolve in their respective dealings with one another, which is the primary source of tension and escalation for a thriller set in a confined place.
    • 38 Metascore
    • 50 Chuck Bowen
    The film occasionally and promisingly suggests an obsessive and free-associative paean to regret.
    • 75 Metascore
    • 50 Chuck Bowen
    The film blends the Bard with National Geographic, failing to make a case for the inexplicability of their union.
    • 39 Metascore
    • 50 Chuck Bowen
    Christophe Gans’s telling of Beauty and the Beast abounds in impersonal and unsatisfying sumptuousness.
    • 35 Metascore
    • 50 Chuck Bowen
    31
    It collapses into repetition and unintended self-parody, as it's devoid of the subtext and empathetic audacity.
    • 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.
    • 46 Metascore
    • 50 Chuck Bowen
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
    • 44 Metascore
    • 50 Chuck Bowen
    The film's characters are stock types without enough satirical texture to fulfill their function in the narrative.
    • 73 Metascore
    • 50 Chuck Bowen
    The pacing is so humorless and funereal that it squelches the possibility of heat or conflict arising between the characters.

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