For 148 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 5.4 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Laurence Anyways
Lowest review score: 0 The Human Centipede III (Final Sequence)
Score distribution:
  1. Positive: 77 out of 148
  2. Negative: 43 out of 148
148 movie reviews
    • 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.
    • tbd Metascore
    • 63 Chuck Bowen
    D.W. Young navigates his varying moods with an ease that's particularly impressive for a director making his feature debut, but he never capitalizes on his ability to coax down our guard.
    • tbd Metascore
    • 63 Chuck Bowen
    The film is an ultra-violent parody of unearned self-entitlement, of people who feel tricked into a lifestyle they refuse to challenge for the comforts it still offers.
    • 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.
    • 73 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.
    • 54 Metascore
    • 63 Chuck Bowen
    Writer-director Jason Banker finds the ironic beauty that arises from his characters' self-contemptuous and misplaced acts of destruction.
    • 65 Metascore
    • 63 Chuck Bowen
    The film is unavoidably slight, but there's a certain pleasure in watching talented people wax passionate about a common source of inspiration.
    • 86 Metascore
    • 63 Chuck Bowen
    Paolo Sorrentino's film is really just a huge turn-on that has the bad manners to go sour, succumbing to its own self-delusions of moral/political grandeur.
    • 42 Metascore
    • 63 Chuck Bowen
    A confident and exciting genre film, and that's certainly not nothing, but it has a slight impersonality that marks it as either a calling card or a work for hire.
    • 85 Metascore
    • 63 Chuck Bowen
    Farhadi navigates his complicated narrative thicket with an apparent ease that confirms yet again that he's an amazing talent, but here he isn't able to blend the brushstrokes as he has in prior films.
    • 67 Metascore
    • 63 Chuck Bowen
    A potential barroom joke blossoms into a surprisingly poignant portrait of three aging men wrestling with how to shed their mortal coil.
    • 44 Metascore
    • 63 Chuck Bowen
    There are cheap shocks in the film, but there are also terrifying moments that poetically command our empathy.
    • 51 Metascore
    • 63 Chuck Bowen
    Greatly cognizant of the revenge genre's penchant for hypocritical demagoguery, director Arnaud des Pallières unsettles the audience's usual feelings of vicarious blood lust.
    • 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.

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