For 81 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 5.6 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
Average review score: 54
Highest review score: 100 Drug War
Lowest review score: 0 33 Postcards
Score distribution:
  1. Positive: 40 out of 81
  2. Negative: 24 out of 81
81 movie reviews
    • 51 Metascore
    • 38 Chuck Bowen
    An almost offensively "tasteful" dud that remains irritatingly on the surface, more alive to the set design than the characters' motivations.
    • 34 Metascore
    • 38 Chuck Bowen
    The problem with the film isn't the contrivance of its premise, it's that writer-director Jessica Goldberg doesn't know it's contrived.
    • 60 Metascore
    • 38 Chuck Bowen
    The sex in Nymphomaniac is inhuman, mechanical, boring, and predictably viewed through the (male) scrim of someone who characterizes women solely as withholders.
    • 59 Metascore
    • 38 Chuck Bowen
    It ultimately offers little more than another opportunity for famous actors to indulge their fetishistic, inadvertently condescending impressions of "everyday" people.
    • 42 Metascore
    • 38 Chuck Bowen
    Atom Egoyan is a much better director when he drops the art-film fanciness and wrestles directly with his inner voyeuristic weirdo.
    • 45 Metascore
    • 38 Chuck Bowen
    Frontloaded with a surprising amount of plot, the film takes forever to get going, but it's the filmmakers' hypocrisy that really grates.
    • 34 Metascore
    • 38 Chuck Bowen
    An inept trifle, Pascal Chaumeil's film reduces Nick Hornby's novel of the same name to a series of smug self-help gestures.
    • 37 Metascore
    • 25 Chuck Bowen
    Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
    • 42 Metascore
    • 25 Chuck Bowen
    Several reels' worth of ugly, unshaped footage that wouldn't have been deemed fit for a movie's end-credit outtakes not so long ago.
    • 19 Metascore
    • 25 Chuck Bowen
    You may feel as if you're watching two or three abbreviated episodes of Law & Order in quick succession rather than a fully realized movie.
    • 56 Metascore
    • 25 Chuck Bowen
    It transforms itself from a meek lo-fi indie stalker thriller in the key of May to a hysterically sexist and homophobic revenge film.
    • 28 Metascore
    • 25 Chuck Bowen
    This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
    • 29 Metascore
    • 12 Chuck Bowen
    As one incoherent action scene follows another, one's left staring at a film with nothing to respond to, waiting for it all to be over.
    • 20 Metascore
    • 12 Chuck Bowen
    The tension almost immediately leaks out of the narrative once we realize we're watching a found-footage horror movie.
    • 36 Metascore
    • 12 Chuck Bowen
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
    • 19 Metascore
    • 12 Chuck Bowen
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
    • 54 Metascore
    • 12 Chuck Bowen
    To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
    • 33 Metascore
    • 0 Chuck Bowen
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.