For 181 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 5.3 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 The Human Centipede III (Final Sequence)
Score distribution:
  1. Positive: 94 out of 181
  2. Negative: 52 out of 181
181 movie reviews
    • 39 Metascore
    • 25 Chuck Bowen
    The payoff is a huge and telling visual howler, summarizing the entire plot with a blithe indifference that will inevitably mirror the audience's.
    • 28 Metascore
    • 12 Chuck Bowen
    Inside Out should be wild and violent, playing on the soap-operatic mood swings that drive televised wrestling; instead it's one or two murders away from being a Lifetime movie of the week.
    • 37 Metascore
    • 12 Chuck Bowen
    The romantic quest that's meant to drive the film is meaningless because Alexander Poe has extended empathy to no one besides himself.
    • 29 Metascore
    • 12 Chuck Bowen
    As one incoherent action scene follows another, one's left staring at a film with nothing to respond to, waiting for it all to be over.
    • 20 Metascore
    • 12 Chuck Bowen
    The tension almost immediately leaks out of the narrative once we realize we're watching a found-footage horror movie.
    • 36 Metascore
    • 12 Chuck Bowen
    Paul Schrader and Brett Easton Ellis don't have the sense of play this kind of narrative of one-upmanship requires, as we're never allowed to enjoy the characters' misdeeds.
    • 19 Metascore
    • 12 Chuck Bowen
    The film's method of admitting its own hypocrisy so as to enable it to further indulge said hypocrisy grows more grating than if it were merely indifferently conceived junk like Falling Down.
    • 54 Metascore
    • 12 Chuck Bowen
    To watch the film is to wonder once again why Neil LaBute was ever taken seriously as a so-called dramatist of the gulf between the sexes.
    • 31 Metascore
    • 12 Chuck Bowen
    Paul Schrader's personality reveals itself in the film's joylessness, which is meaningless without the director's accompanying and occasionally poignant existentialism.
    • 58 Metascore
    • 12 Chuck Bowen
    For most of the film's running time, one mistakes the main character's callousness for the filmmakers'.
    • 23 Metascore
    • 12 Chuck Bowen
    Thomas McCarthy evinces no interest in the people who come into Max's store and wind up as fodder for his increasingly violent and self-absorbed escapades. Not a shred.
    • 52 Metascore
    • 12 Chuck Bowen
    Slacker and even less involving than the similarly terrible global kill-fest Last Knights, but easier to watch for the inadvertent camp value of two of the prominent performances.
    • 13 Metascore
    • 0 Chuck Bowen
    The film, for all its trite lessons, forgets that people mainly play golf because they enjoy it.
    • 38 Metascore
    • 0 Chuck Bowen
    One Fall is a bafflingly lame assemblage of self-help platitudes, the sort of film in which every narrative detail is specifically placed to pave the way for a pat moral you've grasped before the opening credits have barely concluded.
    • 35 Metascore
    • 0 Chuck Bowen
    Laredoans Speak is bad in a special kind of way that inspires the obviously piteous description of "well-intentioned."
    • Slant Magazine
    • 56 Metascore
    • 0 Chuck Bowen
    The title is apropos, but it's also an understatement.
    • tbd Metascore
    • 0 Chuck Bowen
    The doc is so obnoxiously simplistic that you find yourself strangely unsympathetic to its objectively inarguable aim to promote greater standards of elder care.
    • 34 Metascore
    • 0 Chuck Bowen
    A home-invasion film like Mother's Day is elongated coitus interruptus.
    • tbd Metascore
    • 0 Chuck Bowen
    The film is a tedious narrative shambles that's almost hilariously unaware of its racism and sexism.
    • 11 Metascore
    • 0 Chuck Bowen
    Not much happens in The Victim, but the events that do manage to transpire consistently support a reading of the film as an older man's fantasy of virility.
    • 32 Metascore
    • 0 Chuck Bowen
    As a portrait of a self-pitying drunk's wet dream of inexplicable atonement, it's fairly effective, but as a story meant to take place on some rational version of planet Earth, it's utterly hopeless.
    • 33 Metascore
    • 0 Chuck Bowen
    Pauline Chan's film is a jumbled mixture of redemptive uplift and genre hijinks.
    • 25 Metascore
    • 0 Chuck Bowen
    The film's so preoccupied with being "inspirational" that it disastrously fails to evoke the allure of rock n' roll, particularly in America in the 1950s, when it represented an erosion of racial and sexual barriers.
    • 20 Metascore
    • 0 Chuck Bowen
    So flimsily constructed, visually and narratively, that it resembles a middle-school play that's been hastily filmed on an antique camcorder.
    • 39 Metascore
    • 0 Chuck Bowen
    There's no beauty to this film, little rhythm, none of the physical grace that action-film fans crave even if they don't know they do.
    • 5 Metascore
    • 0 Chuck Bowen
    Tom Six has achieved the seemingly impossible: He's made a film even less watchable than "The Human Centipede II."

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