For 30 reviews, this critic has graded:
  • 40% higher than the average critic
  • 6% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3.1 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

Average review score: 61
Highest review score: 100 Hannibal: Season 2
Lowest review score: 0 Anger Management: Season 1
Score distribution:
  1. Positive: 19 out of 30
  2. Negative: 6 out of 30
30 tv reviews
    • 90 Metascore
    • 100 Chuck Bowen
    Justified is the strongest, liveliest, and most tonally accurate adaptation of the writer's work to date, and the latest season bracingly suggests that isn't likely to change anytime soon.
    • 88 Metascore
    • 100 Chuck Bowen
    For its authentic engagement with despair, Hannibal earns its wrenching nihilism: It's a great, epic vision of American horror.
    • 75 Metascore
    • 100 Chuck Bowen
    Steven Soderbergh's The Knick is exhilaratingly alien.
    • 94 Metascore
    • 88 Chuck Bowen
    There's quite a bit going on underneath the show's deceptively raw, on-the-fly simplicity. It's also often a hilarious, exhilaratingly dangerous mixture of the broad, macabre, and political.
    • 84 Metascore
    • 88 Chuck Bowen
    Girls is still undergoing ultimately minor growing pains, but it's frequently poignant and audacious, and actors who made little impression in the first season are allowed to flower.
    • 69 Metascore
    • 88 Chuck Bowen
    Hannibal is richer and more ambiguous than prior Harris adaptations; it's an exploration of social decay that's rife with literal and figurative cancers eating everyone alive from the ground up.
    • 76 Metascore
    • 88 Chuck Bowen
    Luther embodies almost everything that's refreshing about the traditional British crime drama.
    • 74 Metascore
    • 75 Chuck Bowen
    Like the characters who occupy Guest's best work, particularly A Mighty Wind, Tom and his friends have real stature, and the jokes often gracefully comment on their yearning to puncture the bubbles of their own self-concern to connect to others.
    • 77 Metascore
    • 75 Chuck Bowen
    The Bridge doesn't have the forceful originality of other socially conscious dramas such as Justified and Hannibal, but it's off to a promisingly lurid start.
    • 69 Metascore
    • 75 Chuck Bowen
    The Spoils of Babylon is a dada high-wire act presided over by quasi-satirical nutters, and the chaos they invoke is oddly life-affirming.
    • 70 Metascore
    • 75 Chuck Bowen
    Maron portrays a war against self-pity that's unusually resonant for its willingness to plumb the legitimately pitiful.
    • 72 Metascore
    • 75 Chuck Bowen
    The Strain is a refreshingly bold deviation from TV's obsession with literal-minded crime shows that self-consciously flaunt their social relevance while wallowing in soap-operatic macho tropes.
    • 82 Metascore
    • 75 Chuck Bowen
    Creator Hugo Blick, who wrote and directed every episode, displays a knack for precisely parceling out bafflingly vague innuendos with the occasional nugget of undiluted exposition that comes as a sweet relief, not just for the viewer, but for the characters who are often as clueless as we are.
    • 58 Metascore
    • 63 Chuck Bowen
    It's a bumpy ride, but at its best, Hello Ladies understands the demoralizing fear that turns so many men into insufferable jerk-offs.
    • 62 Metascore
    • 63 Chuck Bowen
    Kinnear's particularly comfortable, perhaps too comfortable.... Roy could've been a cartoon thug, but instead he's allowed to gratifyingly embody the demons that truly threaten to carry an addict away into a realm of chaos. He gives this fun but smug series a little bite.
    • 72 Metascore
    • 63 Chuck Bowen
    [Toback is] an uneven director, yes, but a frequently brilliant interviewer.
    • 84 Metascore
    • 63 Chuck Bowen
    Judge clearly likes his characters, and his charismatic actors often justify that affection, but it's disappointing to see so much of an episode's running time spent, for example, on the homophobic implications of a piece of street graffiti, when we could be in the inner chambers of Hooli, or even in the incubator watching as the nerds bicker their way through code to realize the compressor's greatest potential.
    • 85 Metascore
    • 63 Chuck Bowen
    Fargo commands one's attention in the tradition of a pretty good yet ultimately impersonal beach read, but it offers an unqualified triumph in its reworking of Marge Gunderson, the character Frances McDormand played in the film.
    • 64 Metascore
    • 50 Chuck Bowen
    Gervais's efforts to adhere to a coming-of-age formula with a bit of regard for life as it's actually lived are admirable, but his vision is incomplete and often borders on smug.
    • 54 Metascore
    • 50 Chuck Bowen
    Laughably unoriginal, the greatest novelty of creator Glen Morgan's series is that his predictably troubled detective is a woman rather than the usual thirtysomething white dude with three-day stubble and a morning hankering for bourbon.
    • 71 Metascore
    • 50 Chuck Bowen
    Penny Dreadful is too neat, too tasteful and narcotizing, for a work that's full of diseases and serial killers and classist atrocity; not a single monster, lantern, fog cloud, cobblestone, corset or candle is out of place. This kitsch leaves no marks.
    • 65 Metascore
    • 50 Chuck Bowen
    Some of the bolder horror-movie devices admittedly hint at the development of a richer series.... But those thematics aren't allowed to consistently breathe, primarily because the characters too often function as obvious shorthand placeholders for viewer projection.
    • 72 Metascore
    • 38 Chuck Bowen
    Series creator Brian K. Vaughan's adaptation is yet another tepid melodrama, in the tradition of the recent Bates Motel, in which every creative decision appears to have been made in a trendy bid to appeal to the viewer's crotch.
    • 66 Metascore
    • 38 Chuck Bowen
    Greater offenses have been committed in the name of Psycho, such as the regrettable Psycho III, but this series might be less forgivable for the egregiously pandering waste of talent and potential on display.
    • 63 Metascore
    • 38 Chuck Bowen
    On its terms, Mob City is competently executed, but those terms are creatively bankrupt. This is a noir for people who don't really like noirs.
    • 53 Metascore
    • 12 Chuck Bowen
    Ultimately, Atlantis feels less like a series than a tax write-off doubling as footage to play over a large television overlooking a Las Vegas slot machine.
    • 44 Metascore
    • 0 Chuck Bowen
    Anger Management isn't going to bring that [good] actor out though, and it isn't even trying to, as it's just another cynical cash-in that lamely tries to milk laughs from casual, unquestioned dehumanization.