For 405 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 4.3 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Laurence Anyways
Lowest review score: 0 Queen of the Desert
Score distribution:
  1. Negative: 91 out of 405
405 movie reviews
    • 37 Metascore
    • 25 Chuck Bowen
    It alternates awkwardly between shrill, borderline misogynistic sex farce and desperately gory, pun-rife creature feature.
    • 49 Metascore
    • 63 Chuck Bowen
    At least it doesn't make the biopic mistake of attempting to check off every moment of a man's life over the course of a few hours' worth of running time.
    • 44 Metascore
    • 25 Chuck Bowen
    The film's subtitle is apropos, as this is a decidedly locked-down and lead-footed talk-o-rama.
    • 48 Metascore
    • 38 Chuck Bowen
    Throughout, Saverio Costanzo hypocritically drapes his scenes in a cloak of faux-empathy.
    • 68 Metascore
    • 88 Chuck Bowen
    As in Rodney Ascher's previous film, Room 237, the subject of obsession is complemented by a despairing attempt to process it, corral it, and somehow conquer it.
    • 68 Metascore
    • 88 Chuck Bowen
    Appropriately, the images in the film, the most fluidly beautiful and resonant of Nathan Silver's career thus far, suggest flashes of memory relived from the vantage point of the future.
    • 73 Metascore
    • 88 Chuck Bowen
    Andrew Bujalski seizes upon physical training as a resonant metaphor for the work and risk that are inherent in cultivating significant interpersonal connections.
    • 5 Metascore
    • 0 Chuck Bowen
    Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."
    • 46 Metascore
    • 63 Chuck Bowen
    It has a problem that's familiar to competently made, sporadically involving crime procedurals: It's just good enough to inspire wishes that it were better.
    • 63 Metascore
    • 63 Chuck Bowen
    Like other Niccol films, Good Kill is about an essential innocent who dreams of release from a highly structured, classist, and hypocritical environment.
    • 36 Metascore
    • 38 Chuck Bowen
    The filmmakers attempt to acknowledge the pain of warfare within the framework of a redemptive story that lends it an unforgivably patronizing sense of closure.
    • 39 Metascore
    • 0 Chuck Bowen
    There's no beauty to this film, little rhythm, none of the physical grace that action-film fans crave even if they don't know they do.
    • 71 Metascore
    • 75 Chuck Bowen
    The transcendence that the film offers isn't to be taken lightly considering the near impossibility of living professionally as an artist.
    • 55 Metascore
    • 63 Chuck Bowen
    Quentin Dupieux has a talent for rendering otherworldly concepts banal in a manner that reflects the stymied desires of his characters.
    • 80 Metascore
    • 88 Chuck Bowen
    Albert Maysles's portrait of Iris Apfel gradually emerges with cathartic clarity without compromising her inherent mystery.
    • 74 Metascore
    • 75 Chuck Bowen
    The film often suggests a less defiant cover of The Defiant Ones, yet it's a must-see for Viggo Mortensen's characteristically wonderful performance.
    • 32 Metascore
    • 38 Chuck Bowen
    A sluggish, obvious fusion of a disease-of-the-week tearjerker with a comedic family crime romp that abounds in stiflingly over-emphasized Boston-crime-movie details.
    • 56 Metascore
    • 63 Chuck Bowen
    Chris Messina is eventually a little too indifferent to the machinations of the plot, but the film, however inescapably sentimental, is a romantic daydream that casts a lovely spell.
    • 68 Metascore
    • 75 Chuck Bowen
    Director John McNaughton, once an agile orchestrator of seemingly incompatible tones, has retained his talent for teasing insinuation.
    • 60 Metascore
    • 75 Chuck Bowen
    The film is so unusually moving and penetrating because it refuses to cloud its emotions in distancing irony, anger, or nihilism.
    • 87 Metascore
    • 88 Chuck Bowen
    Asghar Farhadi's sensibility embodies a combination of empathy and paranoia that's striking considering that the latter is normally driven by self-absorption.
    • 27 Metascore
    • 25 Chuck Bowen
    Another macho celebration of fighting for "freedom" because someone else told you to, devoid of any acknowledgement of the inherent irony of that ideology.
    • 63 Metascore
    • 75 Chuck Bowen
    A fawning tribute to the cult legend, enriched by a subtle current of sadness that prevents the documentary from turning into a glorified DVD supplement.
    • 71 Metascore
    • 88 Chuck Bowen
    The film's peculiarly exhilarating effect can be attributed to a sense of social outrage that's transcended for the sake of metaphoric social clarity.
    • 36 Metascore
    • 25 Chuck Bowen
    The film can't reconcile Ron Rash's apocalyptic tenderness with its own eagerness to revel in romantic star allure.
    • 62 Metascore
    • 63 Chuck Bowen
    After a surprising development, the film grows slack and sentimental, reverting to the survival-movie platitude about hardship making you a better human.
    • 69 Metascore
    • 50 Chuck Bowen
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
    • 23 Metascore
    • 12 Chuck Bowen
    Thomas McCarthy evinces no interest in the people who come into Max's store and wind up as fodder for his increasingly violent and self-absorbed escapades. Not a shred.
    • 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
    • 88 Chuck Bowen
    The film ultimately understands poverty as a profound and often irreversible desolation of terra firma.

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