For 220 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 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 Skin Trade
Score distribution:
  1. Negative: 60 out of 220
220 movie reviews
    • 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.
    • 63 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.
    • 49 Metascore
    • 63 Chuck Bowen
    At least it doesn't make the biopic mistake of attempting to check off every moment of a man's life over the course of a few hours' worth of running time.
    • 62 Metascore
    • 63 Chuck Bowen
    It fails to go deep enough, suggesting an appetizer offered as an opening to an ultimately unserved meal.
    • 43 Metascore
    • 63 Chuck Bowen
    David Hackl often shoots his bear in fashions that accent its lumbering, powerful grace, even during its death rattle.
    • 63 Metascore
    • 63 Chuck Bowen
    Ken Loach's staging is so calm and sober that it turns his story into an expertly photographed yet weirdly remote rebellion tale.
    • 46 Metascore
    • 63 Chuck Bowen
    The filmmakers maintain a tone that's mostly ideal for the contemporary equivalent of a drive-in movie: of reverent, parodic irreverence.
    • 66 Metascore
    • 63 Chuck Bowen
    The narrative derives much of its tension from the unsentimental ambivalence Jon Watts displays toward the story's two pre-teen boys.
    • tbd Metascore
    • 63 Chuck Bowen
    The filmmakers never really answer inevitable questions: What's the point of these fussy allusions?
    • 65 Metascore
    • 63 Chuck Bowen
    Director Jason Lei Howden has a flair for punchlines that are funny for reasons that are essentially impossible to describe.
    • 50 Metascore
    • 63 Chuck Bowen
    Ariel Kleiman fashions an erotic atmosphere of dusty sensuality that complicates our judgement of this world, but he takes shortcuts.
    • 62 Metascore
    • 63 Chuck Bowen
    The film doesn't add up to much, but it's a diverting tour of Takashi Miike's anything-goes, splatter-paint sensibility.
    • 71 Metascore
    • 63 Chuck Bowen
    One wishes that S. Craig Zahler had more explicitly faced the cultural demons lingering within his premise, attempting to exorcise them.
    • 41 Metascore
    • 63 Chuck Bowen
    Asthma inevitably becomes another film about a man airing out his traumas and hitting all the requisite marks on his path to healing.
    • 63 Metascore
    • 63 Chuck Bowen
    Everyone heals, or doesn't heal, on cue, and the initial pathos of the narrative is dulled by the architecture of its through lines.
    • 64 Metascore
    • 63 Chuck Bowen
    The film doesn't quite earn Jones's performance, but it engenders considerable goodwill for allowing him to give it.
    • 39 Metascore
    • 63 Chuck Bowen
    The whole isn't greater than the sum of its parts, but the various detours coalesce into an amusing wannabe-cult curio.
    • 57 Metascore
    • 63 Chuck Bowen
    Southbound is yet another contemporary horror film that belongs to seemingly every era but its own.
    • 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.

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