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 5.6 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
    • 84 Metascore
    • 63 Chuck Bowen
    The film preaches resolutely to the choir, and cinephiles in sync with the film's politics may still blanch at how snugly their interests are courted.
    • 87 Metascore
    • 63 Chuck Bowen
    There's a sense throughout of Steve James rushing and dutifully covering all his bases to evade accusations of creating a puff piece.
    • 76 Metascore
    • 63 Chuck Bowen
    It's informed with a subtle but disquieting subtext that insists on the pitfalls of allowing ideology to steer you away from common sense.
    • 75 Metascore
    • 63 Chuck Bowen
    Michael Winterbottom and his gifted actors still haven't quite solved the riddle of portraying social disconnection in a manner that's anything other than sporadically involving.
    • 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.
    • 37 Metascore
    • 63 Chuck Bowen
    Camilla Luddington refuses to predictably foreground her character's escalating fear, allowing us instead to see that fear as being at war with her inquisitive intelligence.
    • 76 Metascore
    • 63 Chuck Bowen
    You grow to feel as if you're arbitrarily changing the channel back and forth from a diverting horror film to a promising odd-couple comedy.
    • 85 Metascore
    • 63 Chuck Bowen
    This is, to put it mildly, a lot of information for one documentary, which inevitably devolves to resemble not so much an anthology as a slideshow of genocide's greatest hits.
    • 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.
    • 57 Metascore
    • 63 Chuck Bowen
    The film soon settles into a confident, well-staged groove, primarily because of two unambiguously terrific performances.
    • 69 Metascore
    • 63 Chuck Bowen
    The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
    • 54 Metascore
    • 63 Chuck Bowen
    The images gorgeously embody both the fear and the beauty of James's exploratory experiments with socialization.
    • 62 Metascore
    • 63 Chuck Bowen
    After a surprising development, the film grows slack and sentimental, reverting to the survival-movie platitude about hardship making you a better human.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 50 Chuck Bowen
    Hello Lonesome isn't really that much of a movie, but it has something that a number of more polished pictures in the same vein don't: human decency. Sadly, that's noteworthy.
    • 60 Metascore
    • 50 Chuck Bowen
    Writer-director Bernard Rose effectively conjoures an atompshere of poetic stoned-1960s British rebellion, a feeling of woozy, intoxicating possibility that will not-so-eventually be squashed.
    • 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.
    • 63 Metascore
    • 50 Chuck Bowen
    Once it gets its nominal plot and character development out of the way, Bad Posture turns out to be pleasantly surprising.
    • 59 Metascore
    • 50 Chuck Bowen
    The Dead ultimately doesn't have much of a pulse, as it fails to transcend the banality of its inevitable theme.
    • 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.
    • 39 Metascore
    • 50 Chuck Bowen
    In the end, it feels unavoidably dull, as there isn't much thematic ambiguity to be found in the assertion that humans deserve life that's defined by more than indentured servitude.
    • 73 Metascore
    • 50 Chuck Bowen
    The film is content as it is to run clever one-liners and 19th-century pop-cultural references into the same comedic whirlpool.
    • 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?"
    • 56 Metascore
    • 50 Chuck Bowen
    As a sampler course of what it means to court the Michelin honor, Three Stars is enjoyable, but it's simply a collision of details that never entirely converge into a meaningful whole.
    • 69 Metascore
    • 50 Chuck Bowen
    Made with considerable reverence, but it doesn't quite manage to tow a tricky tonal line that's required when working with such sensitive and complicated material.
    • 52 Metascore
    • 50 Chuck Bowen
    Pang Ho-cheung can't help but humanize Vulgaria's characters, which is a kiss of death for what's meant to be a farce of escalating obscenity.
    • tbd Metascore
    • 50 Chuck Bowen
    One can't help but sense that underneath the complicated art-house game-playing of Isaki Lacuesta's The Double Steps resides a theme that's sentimental and old-hat.

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