For 337 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: 57
Highest review score: 100 Kate Plays Christine
Lowest review score: 0 Queen of the Desert
Score distribution:
  1. Negative: 83 out of 337
337 movie reviews
    • 62 Metascore
    • 63 Chuck Bowen
    The film doesn't add up to much, but it's a diverting tour of Takashi Miike's anything-goes, splatter-paint sensibility.
    • tbd Metascore
    • 63 Chuck Bowen
    D.W. Young navigates his varying moods with an ease that's particularly impressive for a director making his feature debut, but he never capitalizes on his ability to coax down our guard.
    • 55 Metascore
    • 63 Chuck Bowen
    What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.
    • 42 Metascore
    • 63 Chuck Bowen
    A confident and exciting genre film, and that's certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
    • 52 Metascore
    • 63 Chuck Bowen
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
    • 65 Metascore
    • 50 Chuck Bowen
    It suggests that Kris Swanberg has taken notes on what a film concerned with pregnancy should include without actually making it.
    • 50 Metascore
    • 50 Chuck Bowen
    Like many films early in a director's career, it plays more as a sketchbook of intended future endeavors than as a cohesive and fully realized vision in its own right.
    • 37 Metascore
    • 50 Chuck Bowen
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
    • 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.
    • 46 Metascore
    • 50 Chuck Bowen
    Bart Freundlich alternates somewhat arbitrarily between his various plots, leaving a lot of loose ends in the process.
    • 46 Metascore
    • 50 Chuck Bowen
    It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
    • 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.
    • 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.
    • 52 Metascore
    • 50 Chuck Bowen
    Writer-director David Michôd's film renders existential crises of American entitlement dull and tedious.
    • 63 Metascore
    • 50 Chuck Bowen
    Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
    • 44 Metascore
    • 50 Chuck Bowen
    Sadly, Douglas Tirola's documentary doesn't follow its subjects' advice regarding the refinement of technique.
    • 58 Metascore
    • 50 Chuck Bowen
    Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
    • 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.
    • 68 Metascore
    • 50 Chuck Bowen
    Like its protagonist, Philippe Falardeau's film gets lost in a haze of incidental cacophony.
    • 63 Metascore
    • 50 Chuck Bowen
    Some will find the film compelling, but underneath the riddles it's basically a self-important proclamation of "who the hell knows?"
    • 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.
    • 50 Metascore
    • 50 Chuck Bowen
    The film is in love with the tropes it ridicules, and it doesn't take long for that love to dwarf any possibility of critique.
    • 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.
    • 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.
    • 53 Metascore
    • 50 Chuck Bowen
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
    • 59 Metascore
    • 50 Chuck Bowen
    The film is taken with comfy gags that celebrate these men's ownership of pop culture, filtering them through a lens of unrevealing caricature.
    • 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.
    • 77 Metascore
    • 50 Chuck Bowen
    The film interprets itself, offering an essay on rape and gender fluidity that locks us out of the cognitive process of digesting it.
    • 49 Metascore
    • 50 Chuck Bowen
    The filmmakers exhibit no interest in watching the story's central wolves wiggle out of the trap they've potentially set for themselves.

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