For 270 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 5.3 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Queen of Earth
Lowest review score: 0 Skin Trade
Score distribution:
  1. Negative: 71 out of 270
270 movie reviews
    • 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.
    • 58 Metascore
    • 50 Chuck Bowen
    Director Daniel Barber uses a bleak and unresolved portion of American history to justify indulging typical genre-film nihilism.
    • 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.
    • 53 Metascore
    • 50 Chuck Bowen
    The Program is flashier and more self-conscious than many biopics, but it's ultimately just as hollow.
    • 59 Metascore
    • 50 Chuck Bowen
    The film is taken with comfy gags that celebrate these men's ownership of pop culture, filtering them through a lens of unrevealing caricature.
    • 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.
    • 70 Metascore
    • 50 Chuck Bowen
    The film interprets itself, offering an essay on rape and gender fluidity that locks us out of the cognitive process of digesting it.
    • 49 Metascore
    • 50 Chuck Bowen
    The filmmakers exhibit no interest in watching the story's central wolves wiggle out of the trap they've potentially set for themselves.
    • 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.
    • 54 Metascore
    • 50 Chuck Bowen
    The film is one long funereal slog in which the main character discovers something about herself that's almost immediately apparent.
    • 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.
    • 28 Metascore
    • 50 Chuck Bowen
    The premise might make sense, if only hypocritically, but the film abandons this already flimsy parody of macho pride disastrously at the last minute.
    • 69 Metascore
    • 50 Chuck Bowen
    It bridges the cautionary elements of a horror film with the wish-fulfilling platitudes of a touristy romance.
    • 65 Metascore
    • 50 Chuck Bowen
    The film's notion of a caste system is crudely reductive in the manner of a routine future-shock thriller.
    • 33 Metascore
    • 50 Chuck Bowen
    The film is just another fantasy of living only the good portions of the life of an artist.
    • 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.
    • 62 Metascore
    • 50 Chuck Bowen
    It lacks the fire and eccentricity that we want from our stories of adventurers driven by obsessions that could be seen as egotistical or just plain bonkers.
    • 63 Metascore
    • 50 Chuck Bowen
    The film lacks the manic fly-by-night invention of, say, Who Framed Roger Rabbit, or even the ripe erotic ambiguity of something like Avatar.
    • 61 Metascore
    • 50 Chuck Bowen
    Lilting doesn't have any momentum or any sense of ambiguity, once the setup has been established.
    • 57 Metascore
    • 50 Chuck Bowen
    There are a few effectively disquieting sequences early on, but the film never recovers from director Kevin Macdonald's indifferent staging of a pivotal moment.
    • 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.
    • 76 Metascore
    • 50 Chuck Bowen
    The legacy of Syd Fields's screenwriting manual hangs over 10 Cloverfield Lane, as it does all of Abrams's productions, which never even accidentally casts a whiff of subtext or authorial personality.
    • 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.
    • tbd Metascore
    • 50 Chuck Bowen
    The filmmaker's failure of empathy for those who strive to outlaw medicinal marijuana turns the protestors into hissable puritanical bad guys.
    • 49 Metascore
    • 50 Chuck Bowen
    Vincenzo Natali emphasizes technically impressive shots in the service of predictable, boring expository beats, at the expense of elaborating on his main character's growing feelings of isolation and torment.

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