For 381 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 Queen of Earth
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 89 out of 381
381 movie reviews
    • 42 Metascore
    • 50 Chuck Bowen
    Director Roberto Andò takes the form of a classical whodunit and bludgeons it with naïve indignation and sanctimony.
    • 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.
    • 60 Metascore
    • 50 Chuck Bowen
    Writer-director Bernard Rose effectively conjoures an atompshere of poetic stoned-1960s British rebellion, a feeling of woozy, intoxicating possibility that will not-so-eventually be squashed.
    • 54 Metascore
    • 50 Chuck Bowen
    The film is one long funereal slog in which the main character discovers something about herself that's almost immediately apparent.
    • 56 Metascore
    • 50 Chuck Bowen
    As a sampler course of what it means to court the Michelin honor, Three Stars is enjoyable, but it's simply a collision of details that never entirely converge into a meaningful whole.
    • 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.
    • 69 Metascore
    • 50 Chuck Bowen
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
    • 65 Metascore
    • 50 Chuck Bowen
    The film's notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
    • 33 Metascore
    • 50 Chuck Bowen
    The film is just another fantasy of living only the good portions of the life of an artist.
    • 69 Metascore
    • 50 Chuck Bowen
    Made with considerable reverence, but it doesn't quite manage to tow a tricky tonal line that's required when working with such sensitive and complicated material.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 50 Chuck Bowen
    The film is content as it is to run clever one-liners and 19th-century pop-cultural references into the same comedic whirlpool.
    • 76 Metascore
    • 50 Chuck Bowen
    The legacy of Syd Fields's screenwriting manual hangs over 10 Cloverfield Lane, as it does all of Abrams's productions, which never even accidentally casts a whiff of subtext or authorial personality.
    • tbd Metascore
    • 50 Chuck Bowen
    One can't help but sense that underneath the complicated art-house game-playing of Isaki Lacuesta's The Double Steps resides a theme that's sentimental and old-hat.
    • tbd Metascore
    • 50 Chuck Bowen
    The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
    • 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.
    • 47 Metascore
    • 50 Chuck Bowen
    Too much of Noma is composed of gorgeous pillow shots, which grow static and fussy, appearing to exist almost apart from the subject matter.
    • 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.
    • 57 Metascore
    • 50 Chuck Bowen
    There's ultimately little in the way of authentically resonant drama underneath the film's self-conscious busy-ness.
    • 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.
    • 54 Metascore
    • 50 Chuck Bowen
    Director Kiah Roache-Turner's film is an excitingly efficient and ultraviolent zomedy.
    • 49 Metascore
    • 50 Chuck Bowen
    It makes an occasionally spirited pretense of injecting the tensions of the United States's educational system into a familiar zombie-siege scenario.
    • 35 Metascore
    • 50 Chuck Bowen
    A middling genre movie, but it's oddly likable for its conflicted, unresolved tension.
    • 61 Metascore
    • 50 Chuck Bowen
    The film fails to lift off from this sturdy aesthetic launching pad; it never allows the characters, however stock, to evolve in their respective dealings with one another, which is the primary source of tension and escalation for a thriller set in a confined place.

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