For 268 reviews, this critic has graded:
  • 43% higher than the average critic
  • 1% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 5.3 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 Accidental Love
Score distribution:
  1. Negative: 71 out of 268
268 movie reviews
    • 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.
    • 35 Metascore
    • 25 Chuck Bowen
    It inelegantly attempts to infuse a standard revenge western with the gravitas of a war veteran's coming-home odyssey.
    • 37 Metascore
    • 25 Chuck Bowen
    Taste and good intentions are only going to get one so far with a script this tone deaf and direction this ugly and monotonous.
    • 48 Metascore
    • 25 Chuck Bowen
    Charlie is a stereotype who doesn't know it--basically your typical broke dude in a near midlife crisis who thinks he's the first to have his dull problems.
    • 59 Metascore
    • 25 Chuck Bowen
    A film relating a story of the Holocaust is destined to provoke a number of adjectives, but "cloying" shouldn't be one of them.
    • 19 Metascore
    • 25 Chuck Bowen
    You may feel as if you're watching two or three abbreviated episodes of Law & Order in quick succession rather than a fully realized movie.
    • tbd Metascore
    • 25 Chuck Bowen
    Yet another ghost story that insists there's nothing more chilling than a professional woman charged with raising a child on her own.
    • tbd Metascore
    • 25 Chuck Bowen
    It's eventually obvious that Cory McAbee mistakenly believes that his characters' resolutely dull adventures speak for themselves.
    • 41 Metascore
    • 25 Chuck Bowen
    With the film, director William Monahan offers audiences a bundle of fetishes dressed up as an existentialist thriller about the class system.
    • 44 Metascore
    • 25 Chuck Bowen
    The film's subtitle is apropos, as this is a decidedly locked-down and lead-footed talk-o-rama.
    • 35 Metascore
    • 25 Chuck Bowen
    Loosies never establishes a consistent tone; it feels made up as it went along, and not in the electrifyingly free-wheeling fashion of, say, a Godard or Altman film.
    • 39 Metascore
    • 25 Chuck Bowen
    The payoff is a huge and telling visual howler, summarizing the entire plot with a blithe indifference that will inevitably mirror the audience's.
    • 28 Metascore
    • 25 Chuck Bowen
    This is less a movie than a dutiful renewal of a recognizable title's licensing rights.
    • 14 Metascore
    • 25 Chuck Bowen
    Travis Zariwny detachedly regards the material as shtick to be waded through with quotation marks.
    • 37 Metascore
    • 25 Chuck Bowen
    It alternates awkwardly between shrill, borderline misogynistic sex farce and desperately gory, pun-rife creature feature.
    • 45 Metascore
    • 25 Chuck Bowen
    A typical wax-museum reproduction of the American South in which every detail is Southern in bold all caps, and not a single scene over the course of the film's 102 minutes rings true.
    • 24 Metascore
    • 25 Chuck Bowen
    A nasty, cleverly revealed monster might have redeemed some of the monotony of the first (seemingly endless) hour, but the beasty here manages to be ludicrous, dull, and unoriginal somehow all at once, compromising the marginal hope you may have been holding out for the film.
    • 29 Metascore
    • 25 Chuck Bowen
    Drive Hard is the action-film equivalent of one of those folks who relentlessly speak of having it tough all over as they plan their third yearly vacation.
    • 27 Metascore
    • 25 Chuck Bowen
    This enterprise is so listless that one can't even work up a proper head of self-righteous steam over the spooky Native American clich├ęs that drive the plot.
    • 31 Metascore
    • 25 Chuck Bowen
    Julio Medem's film has enough hanky-courting plot mechanics for three remakes of Beaches.
    • 48 Metascore
    • 25 Chuck Bowen
    It's less a film than an unimaginatively assembled series of talking heads.
    • 34 Metascore
    • 25 Chuck Bowen
    Fifteen minutes into Festival of Lights you come to the discouraging realization that you know every infuriating plot beat that will follow.
    • 66 Metascore
    • 25 Chuck Bowen
    So intent on being "art" that it's seemingly indifferent to providing simple niceties such as compelling performance, plot, and an atmosphere that isn't predictably oppressive.
    • 28 Metascore
    • 12 Chuck Bowen
    Inside Out should be wild and violent, playing on the soap-operatic mood swings that drive televised wrestling; instead it's one or two murders away from being a Lifetime movie of the week.
    • 37 Metascore
    • 12 Chuck Bowen
    The romantic quest that's meant to drive the film is meaningless because Alexander Poe has extended empathy to no one besides himself.
    • 19 Metascore
    • 12 Chuck Bowen
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
    • 54 Metascore
    • 12 Chuck Bowen
    To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
    • 20 Metascore
    • 12 Chuck Bowen
    The tension almost immediately leaks out of the narrative once we realize we're watching a found-footage horror movie.
    • 29 Metascore
    • 12 Chuck Bowen
    As one incoherent action scene follows another, one's left staring at a film with nothing to respond to, waiting for it all to be over.
    • 36 Metascore
    • 12 Chuck Bowen
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
    • tbd Metascore
    • 12 Chuck Bowen
    Stephen Winter's film doesn't earn the gall it evinces by pissing on Shirley Clarke's masterpiece.
    • 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.
    • 31 Metascore
    • 12 Chuck Bowen
    Paul Schrader's personality reveals itself in the film's joylessness, which is meaningless without the director's accompanying and occasionally poignant existentialism.
    • 14 Metascore
    • 12 Chuck Bowen
    It inspires retrospective gratitude for the empty yet slick craftsmanship of someone like James Wan.
    • 41 Metascore
    • 12 Chuck Bowen
    Slacker and even less involving than the similarly terrible global kill-fest Last Knights, but easier to watch for the inadvertent camp value of two of the prominent performances.
    • 58 Metascore
    • 12 Chuck Bowen
    For most of the film's running time, one mistakes the main character's callousness for the filmmakers'.
    • 32 Metascore
    • 0 Chuck Bowen
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
    • 38 Metascore
    • 0 Chuck Bowen
    One Fall is a bafflingly lame assemblage of self-help platitudes, the sort of film in which every narrative detail is specifically placed to pave the way for a pat moral you've grasped before the opening credits have barely concluded.
    • 20 Metascore
    • 0 Chuck Bowen
    So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
    • 11 Metascore
    • 0 Chuck Bowen
    Not much happens in The Victim, but the events that do manage to transpire consistently support a reading of the film as an older man's fantasy of virility.
    • 25 Metascore
    • 0 Chuck Bowen
    The film's so preoccupied with being "inspirational" that it disastrously fails to evoke the allure of rock n' roll, particularly in America in the 1950s, when it represented an erosion of racial and sexual barriers.
    • 56 Metascore
    • 0 Chuck Bowen
    The title is apropos, but it's also an understatement.
    • 13 Metascore
    • 0 Chuck Bowen
    The film, for all its trite lessons, forgets that people mainly play golf because they enjoy it.
    • 33 Metascore
    • 0 Chuck Bowen
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.
    • 35 Metascore
    • 0 Chuck Bowen
    Laredoans Speak is bad in a special kind of way that inspires the obviously piteous description of "well-intentioned."
    • Slant Magazine
    • 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."
    • tbd Metascore
    • 0 Chuck Bowen
    The film is a tedious narrative shambles that's almost hilariously unaware of its racism and sexism.
    • tbd Metascore
    • 0 Chuck Bowen
    The doc is so obnoxiously simplistic that you find yourself strangely unsympathetic to its objectively inarguable aim to promote greater standards of elder care.
    • 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.
    • 32 Metascore
    • 0 Chuck Bowen
    Emmerich rewards our patience with an impersonally massive set piece involving the usual generic stew of mass CGI-imagined demolition. The insensitivity displayed toward human life in these sequences would be galling even by Emmerich's standards, if this pitiful albatross of corporate capitalism could work up enough energy to be offensive.

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