For 147 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 5.7 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Drug War
Lowest review score: 0 33 Postcards
Score distribution:
  1. Positive: 76 out of 147
  2. Negative: 43 out of 147
147 movie reviews
    • 69 Metascore
    • 63 Chuck Bowen
    The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 73 Metascore
    • 63 Chuck Bowen
    Álex de la Iglesia has a real flair for wild action sequences that remain exhilaratingly coherent and sensical.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 50 Chuck Bowen
    Like many films early in a director's career, it plays more as a sketchbook of intended future endeavors than as a cohesive and fully realized vision in its own right.
    • 51 Metascore
    • 50 Chuck Bowen
    Gregg Araki's film suggests a hothouse melodrama that's been drained of the hothouse, the melodrama, and any other discernably dramatic stakes.
    • 68 Metascore
    • 50 Chuck Bowen
    After a while, it's hard to escape the fact that the audience is watching a potential monster movie in which most of the fun stuff — i.e. the monster—has been pared away.
    • 67 Metascore
    • 50 Chuck Bowen
    Director Chuck Workman's simply compiles Welles's greatest moments, offering little in the way of an authorial point of view.
    • 36 Metascore
    • 50 Chuck Bowen
    The film has the plot of an intensely lurid thriller, but Atom Egoyan can't bring himself to face that and actively tend to the story; instead, he trades in barely coherent, high-brow euphemisms.
    • 63 Metascore
    • 50 Chuck Bowen
    Adam Pesce never condescends to any of his subjects, but good intentions alone don't make for a captivating movie.
    • 44 Metascore
    • 50 Chuck Bowen
    Sadly, Douglas Tirola's documentary doesn't follow its subjects' advice regarding the refinement of technique.
    • 51 Metascore
    • 50 Chuck Bowen
    The director diligently keeps her heroine's ego in check, and that's awfully principled of her, but her audience may feel as if they've inadvertently booked a trip with no destination.
    • 63 Metascore
    • 50 Chuck Bowen
    Some will find the film compelling, but underneath the riddles it's basically a self-important proclamation of "who the hell knows?"
    • 52 Metascore
    • 50 Chuck Bowen
    The film ultimately leaves you feeling as if you're stuck watching your cousin's boring slideshow of his trip to Palookaville.
    • 72 Metascore
    • 50 Chuck Bowen
    There's considerable talent on display in Exhibition, but it's the kind of thing people mean when they use the term "art film" as a pejorative.
    • 40 Metascore
    • 50 Chuck Bowen
    A sexily chaotic parody of entitlement becomes just another tale of a white dude learning that there are worse things in life than essentially having no problems.
    • 34 Metascore
    • 50 Chuck Bowen
    The film is impersonal and populated with wisps of characters who spend most of the running time wandering around in the dark yelling at one another.

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