For 382 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 Columbus
Lowest review score: 0 Accidental Love
Score distribution:
  1. Negative: 89 out of 382
382 movie reviews
    • 52 Metascore
    • 63 Chuck Bowen
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
    • 72 Metascore
    • 63 Chuck Bowen
    Matteo Garrone returns the fairy tale to its roots in cautionary horror grounded in deep, contradictory, neurotic relationships with gender and patriarchy.
    • 64 Metascore
    • 63 Chuck Bowen
    An admirably bizarre and beautiful genre mixtape, but Anders Thomas Jensen's empathy for his characters gradually impedes his imagination.
    • 58 Metascore
    • 63 Chuck Bowen
    Throughout Alex and Benjamin Brewer's film, Nicolas Cage holds the screen with his distinct timing and expressive force of being.
    • 63 Metascore
    • 63 Chuck Bowen
    Even the film's lapses inform it with a free-associative sense of portent, evoking the stupid things we inexplicably do in our most personal nightmares.
    • 56 Metascore
    • 63 Chuck Bowen
    The lack of ambiguity reflects Benoît Jacquot's treatment of the text, which is devoid of either formal obsessiveness or a contemporary hook.
    • 81 Metascore
    • 63 Chuck Bowen
    It infuses an outdoorsy survival tale and a coming-of-age story of friendship with Taika Waititi's penchant for distaff flakiness.
    • 69 Metascore
    • 63 Chuck Bowen
    It offers a wonderful visual reprieve from the cumbersomely mechanized aesthetic of so much contemporary fantasy.
    • 80 Metascore
    • 63 Chuck Bowen
    It has an irritating habit of depending on our natural reactions, letting the subject matter do the heavy lifting.
    • 66 Metascore
    • 63 Chuck Bowen
    The film shrewdly capitalizes on Mel Gibson's off-screen embarrassments and controversies.
    • 58 Metascore
    • 63 Chuck Bowen
    Underneath the impersonal formal beauty and good acting is a familiar moral about self-imposed limitations.
    • 69 Metascore
    • 63 Chuck Bowen
    The film attains a chilly existential quality as Matt Johnson's character discerns the weight of his actions.
    • 71 Metascore
    • 63 Chuck Bowen
    Theo Who Lived is fascinating, and Theo Padnos is an exacting storyteller, but the film pushes through one story point to the next, occasionally prizing velocity over texture.
    • 76 Metascore
    • 63 Chuck Bowen
    The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.
    • 79 Metascore
    • 63 Chuck Bowen
    Danzel Washington honors the manna of the play's being: the micro of romantic longing, self-loathing, and nostalgia.
    • 53 Metascore
    • 63 Chuck Bowen
    The film is seemingly terrified of boring us, offering one elaborate montage of catch and release (or of survey and flee) after another.
    • 49 Metascore
    • 63 Chuck Bowen
    The Resident Evil films are so unconcerned with traditional character and narrative that they suggest either abstract art or the fevered brainstorming of a child at play.
    • 55 Metascore
    • 63 Chuck Bowen
    What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.
    • 71 Metascore
    • 63 Chuck Bowen
    Alice Lowe evinces a knack for locating society’s most awkward pressure points, and a willingness to punch them.
    • 68 Metascore
    • 63 Chuck Bowen
    Oz Perkins exhibits a committed understanding of the cinematic value of silence and of vastly underpopulated compositions.
    • 68 Metascore
    • 63 Chuck Bowen
    Lydia Tenaglia's direction is occasionally flashy and cluttered, but her empathy for Tower is evocative and poignant.
    • 64 Metascore
    • 63 Chuck Bowen
    In the film's best scenes, Jeff Grace displays a delicate understanding of various modes of male fragility.
    • 73 Metascore
    • 63 Chuck Bowen
    Steve James is clearly positioning the film as a rallying cry, and its weaknesses as art might bolster its strength as reformatory theater.
    • 76 Metascore
    • 63 Chuck Bowen
    One may wonder if Night School's most revealing material has been left on the cutting room floor, so as to offer the sort of uplift that inadvertently marginalizes the very inequalities that drive the film.
    • 74 Metascore
    • 63 Chuck Bowen
    Lost in Paris abounds in whimsy that, for the most part, isn't irritatingly precious—a feat that's harder to pull off than it appears.
    • 61 Metascore
    • 63 Chuck Bowen
    Ana Lily Amirpour has learned a few lessons from QT about the disreputable joys of blending kitsch and ultraviolence.
    • 76 Metascore
    • 63 Chuck Bowen
    In Okja, a transporting protest fantasy becomes another shrill dust-up in the waging of the culture wars.
    • 68 Metascore
    • 63 Chuck Bowen
    Andrew Becker and Daniel Mehrer get close to their subjects only to retreat when things get truly dangerous.
    • 66 Metascore
    • 63 Chuck Bowen
    By design, the film is intensely preachy. And this preachiness serves a therapeutic purpose, offering jolting possibilities for empathy.
    • 73 Metascore
    • 63 Chuck Bowen
    This is history that Americans should know, and the filmmaker approach Rumble as an introductory survey course.

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