For 312 reviews, this critic has graded:
  • 44% higher than the average critic
  • 1% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 4.9 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 The Salesman
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 79 out of 312
312 movie reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 63 Chuck Bowen
    The film attains a chilly existential quality as Matt Johnson's character discerns the weight of his actions.
    • 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.
    • 76 Metascore
    • 63 Chuck Bowen
    The busy-ness of its conceit grounds Werner Herzog in a documentary procedural form that's surprisingly conventional by his standards.
    • 49 Metascore
    • 63 Chuck Bowen
    The Resident Evil films are so unconcerned with traditional character and narrative that they suggest either abstract art or the fevered brainstorming of a child at play.
    • 72 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.
    • 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.
    • 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.
    • 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.
    • 79 Metascore
    • 63 Chuck Bowen
    Danzel Washington honors the manna of the play's being: the micro of romantic longing, self-loathing, and nostalgia.
    • 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.
    • 81 Metascore
    • 63 Chuck Bowen
    It infuses an outdoorsy survival tale and a coming-of-age story of friendship with Taika Waititi's penchant for distaff flakiness.
    • 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.
    • 12 Metascore
    • 63 Chuck Bowen
    Writer-director Andy Gillies's film is extremely self-conscious, but in a fashion that generally serves the material.
    • 64 Metascore
    • 63 Chuck Bowen
    An admirably bizarre and beautiful genre mixtape, but Anders Thomas Jensen's empathy for his characters gradually impedes his imagination.
    • 66 Metascore
    • 63 Chuck Bowen
    The film shrewdly capitalizes on Mel Gibson's off-screen embarrassments and controversies.
    • 63 Metascore
    • 63 Chuck Bowen
    Even the film's lapses inform it with a free-associative sense of portent, evoking the stupid things we inexplicably do in our most personal nightmares.
    • 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.
    • 69 Metascore
    • 63 Chuck Bowen
    The film effectively underlines the one undertaking that time-travel fantasies can never truly allow: escape from ourselves.
    • 58 Metascore
    • 63 Chuck Bowen
    Southbound is yet another contemporary horror film that belongs to seemingly every era but its own.
    • 53 Metascore
    • 63 Chuck Bowen
    Jordan Galland confidently perches the film right on the razor’s edge separating absurdist comedy from horror.
    • 72 Metascore
    • 63 Chuck Bowen
    Matteo Garrone returns the fairy tale to its roots in cautionary horror grounded in deep, contradictory, neurotic relationships with gender and patriarchy.
    • 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.
    • 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.

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