For 147 reviews, this critic has graded:
  • 43% higher than the average critic
  • 1% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Laurence Anyways
Lowest review score: 0 The Identical
Score distribution:
  1. Positive: 76 out of 147
  2. Negative: 43 out of 147
147 movie reviews
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 63 Chuck Bowen
    After a surprising development, the film grows slack and sentimental, reverting to the survival-movie platitude about hardship making you a better human.
    • 58 Metascore
    • 63 Chuck Bowen
    The documentary is briskly paced, often compelling, but a little soft, as it succumbs to hero worship.
    • 58 Metascore
    • 63 Chuck Bowen
    The film is just a stunt or, more specifically, a calling card, but that might be enough for anyone who's ever wanted to kick Mickey Mouse square in his padded, pious balls.
    • 63 Metascore
    • 63 Chuck Bowen
    The "male gaze" that often despicably and hypocritically surfaces in these kinds of films is pointedly absent throughout.
    • 26 Metascore
    • 63 Chuck Bowen
    Wayne Kramer thankfully refuses to cloak his excessiveness in hedge-betting self-consciousness and the result is a gratifyingly disreputable B-movie blow out.
    • 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.
    • 65 Metascore
    • 63 Chuck Bowen
    The Love We Make is mostly about placing viewers in an icon's shoes as he makes a rehabilitative gesture toward a city with which he's grown considerable roots.
    • 65 Metascore
    • 63 Chuck Bowen
    The film is unavoidably slight, but there's a certain pleasure in watching talented people wax passionate about a common source of inspiration.
    • 44 Metascore
    • 63 Chuck Bowen
    There are cheap shocks in the film, but there are also terrifying moments that poetically command our empathy.
    • 54 Metascore
    • 63 Chuck Bowen
    Writer-director Jason Banker finds the ironic beauty that arises from his characters' self-contemptuous and misplaced acts of destruction.
    • 59 Metascore
    • 63 Chuck Bowen
    The script simply isn't in the same league as the images that Andrew Dosunmu and the gifted cinematographer Bradford Young have fashioned.
    • 57 Metascore
    • 63 Chuck Bowen
    The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
    • 59 Metascore
    • 63 Chuck Bowen
    The script is busy and unconvincing, and much of the acting is lousy, but there are haunting touches.
    • 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.
    • 54 Metascore
    • 63 Chuck Bowen
    The images gorgeously embody both the fear and the beauty of James's exploratory experiments with socialization.
    • 63 Metascore
    • 63 Chuck Bowen
    One sees a film called 100 Bloody Acres expecting the requisite allusions to The Texas Chainsaw Massacre, but an homage to the best scene in Melvin and Howard comes as something of a shock.
    • 67 Metascore
    • 63 Chuck Bowen
    The film is ultimately enjoyable despite its faults, at least partially because it represents an earnest, honest attempt to empathize with struggling American working-class women.
    • 37 Metascore
    • 63 Chuck Bowen
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
    • 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.
    • 67 Metascore
    • 63 Chuck Bowen
    A potential barroom joke blossoms into a surprisingly poignant portrait of three aging men wrestling with how to shed their mortal coil.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 63 Chuck Bowen
    The film is an ultra-violent parody of unearned self-entitlement, of people who feel tricked into a lifestyle they refuse to challenge for the comforts it still offers.
    • 12 Metascore
    • 63 Chuck Bowen
    Writer-director Andy Gillies's film is extremely self-conscious, but in a fashion that generally serves the material.
    • 51 Metascore
    • 63 Chuck Bowen
    The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.

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