For 71 reviews, this critic has graded:
  • 33% higher than the average critic
  • 5% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

Average review score: 62
Highest review score: 100 The Knick: Season 1
Lowest review score: 0 Anger Management: Season 2
Score distribution:
  1. Positive: 40 out of 71
  2. Negative: 13 out of 71
71 tv reviews
    • 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.
    • 75 Metascore
    • 63 Chuck Bowen
    The film's conception of Bessie is sentimental, but the visceral sensuality of Latifah's presence eclipses it, as she informs every gesture with body language that's subtly graceful in its bluntness, clouding where Bessie's sense of overcompensation for her early family life ends and where her biological hungers begin.
    • 72 Metascore
    • 63 Chuck Bowen
    [Toback is] an uneven director, yes, but a frequently brilliant interviewer.
    • 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.
    • 65 Metascore
    • 63 Chuck Bowen
    Ballers sits right on the fence separating indulgent male fantasia from knowing spoof of the same, but it goes down surprisingly easy, considering the familiarity of its DNA.
    • tbd Metascore
    • 63 Chuck Bowen
    Despite its various flights of inspiration, The Ricky Gervais Show is too settled into a predictable groove.
    • 75 Metascore
    • 63 Chuck Bowen
    The problem with this promising but often forgettable mystery is ultimately simple: One never really feels the idiosyncratic heat. These pulp shenanigans fails to cohere as a distinctly unified vision.
    • 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.
    • 65 Metascore
    • 63 Chuck Bowen
    Animal Kingdom is superficial and derivative of countless other films and crime shows, lacking the nihilistic heat of its source material and the transcendently elegant formality of Point Break. But it also decadently relishes in the objectification of both genders with amusing shamelessness.
    • 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.
    • 71 Metascore
    • 50 Chuck Bowen
    Though it abounds in diverting window-dressing, Gotham is literally all dressed up with nowhere to go: It's a derivative copy of a copy in search of a real governing identity.
    • 69 Metascore
    • 50 Chuck Bowen
    The Tunnel is crisply staged, well-acted, but only mildly diverting. It's hard to shake the sensation that we've been here too many times before, and often to greater effect.
    • 82 Metascore
    • 50 Chuck Bowen
    The Night Manager goes down easy as a glamorous procedural, but its conventionality grows narcotizing.
    • 76 Metascore
    • 50 Chuck Bowen
    Stranger Things is competently crafted, but exists as little more than the pointless sum of its spare parts.
    • 73 Metascore
    • 50 Chuck Bowen
    There are few grace notes and no real surprises beneath the pumped-up topical melodrama. The Last Panthers's aesthetic is as numbingly generic as most of its characters, favoring that ashtray-gray sheen that many filmmakers prefer when staging European crime stories.
    • 43 Metascore
    • 50 Chuck Bowen
    The Player is pulp trash with an admirable sense of its own disposability, running through gimmicks nearly as efficiently as Alex plows through requisitely faceless thugs.
    • tbd Metascore
    • 50 Chuck Bowen
    Some jokes land mildly on their feet, but creators Jeff Schaffer and Jackie Marcus Schaffer routinely allow potentially interesting punchlines to slip through their fingers unfulfilled.
    • 76 Metascore
    • 50 Chuck Bowen
    Preacher's serialized dramatic structure reins in Rogen and Goldberg's impudent, free-associative instincts, though these sensibilities are just evident enough to undermine the momentum of the plot with smug, winking indifference. It's the worst of both worlds.
    • 70 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.
    • tbd Metascore
    • 50 Chuck Bowen
    The sitcom hijinks play as just that, and the bits are obvious and detached from Maron's specifically humbled, nearly redeemed loser persona, as these stories could appear in any comedy about a disgruntled white dude wandering through life sleeping with as many women as possible. Something has curdled a bit here.
    • 71 Metascore
    • 50 Chuck Bowen
    Designated Survivor has potential as an exercise in which Sutherland alternatingly plays Jack Bauer and James Stewart’s eponymous character from Mr. Smith Goes to Washington. But everything else about the pilot is undistinguished and formulaic.
    • 69 Metascore
    • 50 Chuck Bowen
    The series goes down easily, with one-liners alternating professionally with well-designed battle scenes, and this obliging impersonality is why it’s ultimately so dull, as zippy, attention-grabbing movement is prized over mood and poetry.
    • 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.
    • tbd Metascore
    • 50 Chuck Bowen
    With the protagonists' interior evolution amounting to little more than window dressing, there's no pervading direction in which the series can go, leaving the audience with an episodic collection of occasionally creepy, sometimes luridly poetic, yet barely distinguishable hauntings.
    • 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.
    • 81 Metascore
    • 50 Chuck Bowen
    As usual with Mr. Robot, there's a sense that the creators care only about establishing pretenses to mount their formally self-conscious kitsch. The series is too busy being cool to matter.
    • 72 Metascore
    • 50 Chuck Bowen
    There's no true sensibility governing Quarry; it's all signifiers and callbacks, whether inadvertent or purposeful, to more idiosyncratic shows and films. The series revels in a blandly familiar fugue state.
    • 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.
    • 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
    There are no casual touches in Sense8, and the Wachowskis' fashionable and unsurprising "fight the power" message meshes tediously with typical action beats that are further glossed over with said narrative parallels.

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