For 100 reviews, this critic has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 6.2 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Laurence Anyways
Lowest review score: 0 The Identical
Score distribution:
  1. Positive: 49 out of 100
  2. Negative: 30 out of 100
100 movie reviews
    • 60 Metascore
    • 75 Chuck Bowen
    +1
    It ambitiously parodies and mourns the implications of the one coherent message that mass media manages to convey to all of its consumers in all its endlessly proliferating, ever-shifting permutations.
    • 62 Metascore
    • 75 Chuck Bowen
    It's fair to say that a filmmaker is thinking outside of the box when he or she stages a scene in which an ambulatory hemorrhoid tears a guy's cock off with its teeth and swallows it.
    • 79 Metascore
    • 75 Chuck Bowen
    It compellingly captures a family wrestling mightily with the riddles and contradictions of a culture that promotes achievement at all costs with little thought as to what that actually means.
    • 42 Metascore
    • 75 Chuck Bowen
    Throughout, Joe Swanberg connects Generation Y's fetish for past pop-cultural kitsch to its attending sexual insecurities.
    • 53 Metascore
    • 75 Chuck Bowen
    The film is a quiet, tender triumph that leaves you feeling as if you've been embraced without you feeling had.
    • 47 Metascore
    • 75 Chuck Bowen
    Like a number of cult directors to emerge in the 1970s, Henry Jaglom values a party atmosphere at the expense of narrative cohesion.
    • 72 Metascore
    • 75 Chuck Bowen
    Marc Bauder's documentary quietly detonates the conservative notion that our largest corporations should be allowed to duke it out in metaphorical no-holds-barred cage matches.
    • 81 Metascore
    • 75 Chuck Bowen
    Aarón Fernández captures one of the most heartening elements of sex: that it doesn't always oblige our rules or expectations.
    • 67 Metascore
    • 75 Chuck Bowen
    Jonathan Demme makes loving sport of the trust his actors have clearly placed in him, erecting for them a monument to the joys and terrors of walking an emotional high wire.
    • 72 Metascore
    • 75 Chuck Bowen
    The film abounds in guilt and grief, reveling in a general sense of hopelessly broken social connection.
    • 69 Metascore
    • 75 Chuck Bowen
    Wiktor Ericsson emphasizes one of the strongest and most distinctive features of Joseph Sarno's aesthetic: his concentration on female pleasure.
    • 59 Metascore
    • 63 Chuck Bowen
    The script is busy and unconvincing, and much of the acting is lousy, but there are haunting touches.
    • 65 Metascore
    • 63 Chuck Bowen
    It's the rare urgent-issue movie that refuses to pummel you with the importance of its subject matter, which in this case involves the shameful, potential extinction of a culture.
    • 65 Metascore
    • 63 Chuck Bowen
    The Love We Make is mostly about placing viewers in an icon's shoes as he makes a rehabilitative gesture toward a city with which he's grown considerable roots.
    • 74 Metascore
    • 63 Chuck Bowen
    Fake It So Real has been made with considerable more polish than other do-it-yourself documentaries such as "Total Badass," but the sensibility is similar.
    • 81 Metascore
    • 63 Chuck Bowen
    A Simple Life may have one of the most accurate titles in all of cinema, as the film has a bracingly casual sense of day-to-day working-class life that recalls the films of Jean Renoir or, more recently, Olivier Assayas.
    • 59 Metascore
    • 63 Chuck Bowen
    The script simply isn't in the same league as the images that Andrew Dosunmu and the gifted cinematographer Bradford Young have fashioned.
    • 58 Metascore
    • 63 Chuck Bowen
    The documentary is briskly paced, often compelling, but a little soft, as it succumbs to hero worship.
    • 60 Metascore
    • 63 Chuck Bowen
    Kumaré has a premise that could've been the launching point for one of Sascha Baron Cohen and Larry Charles's satirical outrages.
    • 53 Metascore
    • 63 Chuck Bowen
    Say what you will about Burning Man, but writer-director Jonathan Teplitsky can't be accused of spoon-feeding his audience.
    • 51 Metascore
    • 63 Chuck Bowen
    The film never really goes soft, as Jordan Roberts never loses sight of the fact that these toxic nincompoops are authentically bad for one another.
    • 67 Metascore
    • 63 Chuck Bowen
    The film is ultimately enjoyable despite its faults, at least partially because it represents an earnest, honest attempt to empathize with struggling American working-class women.
    • 63 Metascore
    • 63 Chuck Bowen
    The "male gaze" that often despicably and hypocritically surfaces in these kinds of films is pointedly absent throughout.
    • 12 Metascore
    • 63 Chuck Bowen
    Writer-director Andy Gillies's film is extremely self-conscious, but in a fashion that generally serves the material.
    • 69 Metascore
    • 63 Chuck Bowen
    The film's most striking quality, and it's not insignificant, is director Margarethe von Trotta's refusal to fossilize the controversies she dramatizes.
    • 63 Metascore
    • 63 Chuck Bowen
    One sees a film called 100 Bloody Acres expecting the requisite allusions to The Texas Chainsaw Massacre, but an homage to the best scene in Melvin and Howard comes as something of a shock.
    • 26 Metascore
    • 63 Chuck Bowen
    Wayne Kramer thankfully refuses to cloak his excessiveness in hedge-betting self-consciousness and the result is a gratifyingly disreputable B-movie blow out.
    • 72 Metascore
    • 63 Chuck Bowen
    The film, more likely to invite comparisons to the writings of Marcel Proust than the previous Ip Man films, is a gorgeous folly that never entirely emerges from its creator's head.
    • 41 Metascore
    • 63 Chuck Bowen
    Robert Ben Garant and Thomas Lennon display a freewheelin' sense of invention that should be watched closely, because they have the raw stuff of major comic filmmakers.
    • 58 Metascore
    • 63 Chuck Bowen
    The film is just a stunt or, more specifically, a calling card, but that might be enough for anyone who's ever wanted to kick Mickey Mouse square in his padded, pious balls.