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 5 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Laurence Anyways
Lowest review score: 0 33 Postcards
Score distribution:
  1. Negative: 79 out of 312
312 movie reviews
    • 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.
    • 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.
    • 58 Metascore
    • 63 Chuck Bowen
    Underneath the impersonal formal beauty and good acting is a familiar moral about self-imposed limitations.
    • 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.
    • 62 Metascore
    • 63 Chuck Bowen
    It fails to go deep enough, suggesting an appetizer offered as an opening to an ultimately unserved meal.
    • 69 Metascore
    • 63 Chuck Bowen
    As preachy and repetitive as The Little Prince can be, it offers enough moments of poetry to keep it flirting with greatness, or at least goodness.
    • 58 Metascore
    • 63 Chuck Bowen
    Throughout Alex and Benjamin Brewer's film, Nicolas Cage holds the screen with his distinct timing and expressive force of being.
    • tbd Metascore
    • 63 Chuck Bowen
    The filmmakers never really answer inevitable questions: What's the point of these fussy allusions?
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 63 Chuck Bowen
    What distinguishes Stray Bullets from so many other low-budget crime films is Jack Fessenden's sense of quietness.
    • 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.
    • 52 Metascore
    • 63 Chuck Bowen
    It has a bouncy sense of lunacy, wearing its derivative junkiness on its sleeve with surprising lightness of authority.
    • 65 Metascore
    • 50 Chuck Bowen
    It suggests that Kris Swanberg has taken notes on what a film concerned with pregnancy should include without actually making it.
    • 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.
    • 37 Metascore
    • 50 Chuck Bowen
    Heist is competently staged, but Scott Mann maintains audience interest with the preponderance of dissonant absurdities.
    • 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.
    • 46 Metascore
    • 50 Chuck Bowen
    It's perched uneasily on a fence separating a rote comic sketch film from something weirder, stranger, and less engaged with offering reassuring domestic homilies.
    • 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.

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