For 143 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 5 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Drug War
Lowest review score: 0 33 Postcards
Score distribution:
  1. Positive: 74 out of 143
  2. Negative: 41 out of 143
143 movie reviews
    • 55 Metascore
    • 50 Chuck Bowen
    A one-joke movie--a good joke, yes, but Brandon Cronenberg's agenda clouds the clarity that's needed to fully deliver the punchline.
    • 62 Metascore
    • 50 Chuck Bowen
    It lacks the fire and eccentricity that we want from our stories of adventurers driven by obsessions that could be seen as egotistical or just plain bonkers.
    • 35 Metascore
    • 50 Chuck Bowen
    A middling genre movie, but it's oddly likable for its conflicted, unresolved tension.
    • 44 Metascore
    • 50 Chuck Bowen
    Sadly, Douglas Tirola's documentary doesn't follow its subjects' advice regarding the refinement of technique.
    • 68 Metascore
    • 50 Chuck Bowen
    After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
    • 51 Metascore
    • 50 Chuck Bowen
    The Peter Landesman film's overt politics are minimal, aside from defaulting to the myth of John F. Kennedy as a martyr for...something.
    • 49 Metascore
    • 50 Chuck Bowen
    Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.
    • 52 Metascore
    • 50 Chuck Bowen
    The film ultimately doesn't live up to this early potential, as Keanu Reeves loses his way in the third act with too many false climaxes.
    • 57 Metascore
    • 50 Chuck Bowen
    There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
    • 57 Metascore
    • 50 Chuck Bowen
    There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
    • 28 Metascore
    • 50 Chuck Bowen
    The premise might make sense, if only hypocritically, but the film abandons this already flimsy parody of macho pride disastrously at the last minute.
    • 40 Metascore
    • 50 Chuck Bowen
    A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
    • 52 Metascore
    • 50 Chuck Bowen
    The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
    • 72 Metascore
    • 50 Chuck Bowen
    There's considerable talent on display in Exhibition, but it's the kind of thing people mean when they use the term "art film" as a pejorative.
    • 51 Metascore
    • 50 Chuck Bowen
    The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.
    • 34 Metascore
    • 50 Chuck Bowen
    The film is impersonal and populated with wisps of characters who spend most of the running time wandering around in the dark yelling at one another.
    • 63 Metascore
    • 50 Chuck Bowen
    The film lacks the manic fly-by-night invention of, say, Who Framed Roger Rabbit, or even the ripe erotic ambiguity of something like Avatar.
    • 61 Metascore
    • 50 Chuck Bowen
    Lilting doesn't have any momentum or any sense of ambiguity, once the setup has been established.
    • 43 Metascore
    • 50 Chuck Bowen
    It could have used far more of King's mordant humor, which might have imbued the metaphorical autumnal proceedings with a much-needed jolt of pop anarchy, or even pathos.
    • 51 Metascore
    • 50 Chuck Bowen
    Gregg Araki's film suggests a hothouse melodrama that's been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
    • 47 Metascore
    • 50 Chuck Bowen
    Timidity and perhaps fear, of visual confinement, of lingering emotional engagement, closes Nacho Vigalondo's most promising windows.
    • 67 Metascore
    • 50 Chuck Bowen
    Director Chuck Workman's simply compiles Welles's greatest moments, offering little in the way of an authorial point of view.
    • 36 Metascore
    • 50 Chuck Bowen
    The film has the plot of an intensely lurid thriller, but Atom Egoyan can't bring himself to face that and actively tend to the story; instead, he trades in barely coherent, high-brow euphemisms.
    • 68 Metascore
    • 50 Chuck Bowen
    The actors play off one another beautifully, but the film bottoms out just as it's getting warmed up.
    • 54 Metascore
    • 50 Chuck Bowen
    Director Kiah Roache-Turner's film is an excitingly efficient and ultraviolent zomedy.
    • 54 Metascore
    • 50 Chuck Bowen
    The source material, which is convoluted even by Shakespeare's narratively dexterous standards, is admittedly a tough nut for a filmmaker to crack.
    • 68 Metascore
    • 50 Chuck Bowen
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
    • 41 Metascore
    • 38 Chuck Bowen
    The film is a collection of consciously quirky indie tropes in place of any meaningful narrative, and you can practically see the notebook the filmmakers may have written in during a brainstorming session in a college screenwriting seminar.
    • 24 Metascore
    • 38 Chuck Bowen
    A few trite race and religion jokes goose up what's mostly a sentimental story of a dysfunctional family suddenly and magically learning to function again.
    • 49 Metascore
    • 38 Chuck Bowen
    The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.

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