For 263 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 5.6 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Laurence Anyways
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 71 out of 263
263 movie reviews
    • 49 Metascore
    • 63 Chuck Bowen
    With The Sacrament, director Ti West has bitten off more of a premise than his classically modest barebones approach to horror movies can presently chew.
    • 73 Metascore
    • 63 Chuck Bowen
    Álex de la Iglesia has a real flair for wild action sequences that remain exhilaratingly coherent and sensical.
    • 84 Metascore
    • 63 Chuck Bowen
    The film preaches resolutely to the choir, and cinephiles in sync with the film's politics may still blanch at how snugly their interests are courted.
    • 87 Metascore
    • 63 Chuck Bowen
    There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
    • 76 Metascore
    • 63 Chuck Bowen
    It's informed with a subtle but disquieting subtext that insists on the pitfalls of allowing ideology to steer you away from common sense.
    • 75 Metascore
    • 63 Chuck Bowen
    Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
    • 65 Metascore
    • 63 Chuck Bowen
    It waffles between dramatizing youthful self-absorption and succumbing to it, and this tonal instability comes to effectively mirror the domestic discord that's revealed to be its real subject.
    • 37 Metascore
    • 63 Chuck Bowen
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
    • 76 Metascore
    • 63 Chuck Bowen
    You grow to feel as if you're arbitrarily changing the channel back and forth from a diverting horror film to a promising odd-couple comedy.
    • 85 Metascore
    • 63 Chuck Bowen
    This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
    • 58 Metascore
    • 63 Chuck Bowen
    The film is ultimately, and disappointingly, revealed to be a contraption that's less concerned with mental portraiture than with getting all of its expository ducks in a row.
    • 57 Metascore
    • 63 Chuck Bowen
    The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
    • 69 Metascore
    • 63 Chuck Bowen
    The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
    • 54 Metascore
    • 63 Chuck Bowen
    The images gorgeously embody both the fear and the beauty of James's exploratory experiments with socialization.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 62 Metascore
    • 63 Chuck Bowen
    It fails to go deep enough, suggesting an appetizer offered as an opening to an ultimately unserved meal.
    • 43 Metascore
    • 63 Chuck Bowen
    David Hackl often shoots his bear in fashions that accent its lumbering, powerful grace, even during its death rattle.
    • 63 Metascore
    • 63 Chuck Bowen
    Ken Loach's staging is so calm and sober that it turns his story into an expertly photographed yet weirdly remote rebellion tale.
    • 46 Metascore
    • 63 Chuck Bowen
    The filmmakers maintain a tone that's mostly ideal for the contemporary equivalent of a drive-in movie: of reverent, parodic irreverence.
    • 66 Metascore
    • 63 Chuck Bowen
    The narrative derives much of its tension from the unsentimental ambivalence Jon Watts displays toward the story's two pre-teen boys.
    • tbd Metascore
    • 63 Chuck Bowen
    The filmmakers never really answer inevitable questions: What's the point of these fussy allusions?
    • 65 Metascore
    • 63 Chuck Bowen
    Director Jason Lei Howden has a flair for punchlines that are funny for reasons that are essentially impossible to describe.
    • 50 Metascore
    • 63 Chuck Bowen
    Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world, but he takes shortcuts.
    • 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.
    • 72 Metascore
    • 63 Chuck Bowen
    One wishes that S. Craig Zahler had more explicitly faced the cultural demons lingering within his premise, attempting to exorcise them.

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