For 322 reviews, this critic has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 4.5 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 The Salesman
Lowest review score: 0 Accidental Love
Score distribution:
  1. Negative: 79 out of 322
322 movie reviews
    • 66 Metascore
    • 50 Chuck Bowen
    The main character is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency.
    • 68 Metascore
    • 50 Chuck Bowen
    The actors play off one another beautifully, but the film bottoms out just as it's getting warmed up.
    • 42 Metascore
    • 50 Chuck Bowen
    The film's characters are stock types without enough satirical texture to fulfill their function in the narrative.
    • 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.
    • 32 Metascore
    • 50 Chuck Bowen
    The film is ultimately devoted to formula, as Nick Simon discards his jumbled meta-media conceit at around the halfway mark.
    • 51 Metascore
    • 50 Chuck Bowen
    The actors have the showmanship to chew the lurid, shopworn material up to bits, savoring it like a Royale with cheese.
    • 43 Metascore
    • 50 Chuck Bowen
    It could have used far more of King's mordant humor, which might have imbued the metaphorical autumnal proceedings with a much-needed jolt of pop anarchy, or even pathos.
    • 36 Metascore
    • 50 Chuck Bowen
    Standoff isn’t quite inspired, but it coasts on unexpected modesty of professionalism.
    • 53 Metascore
    • 50 Chuck Bowen
    There's satiric potential here, but Eli Roth's sense of humor abandons him when his hero isn't about to get down with the get down.
    • 77 Metascore
    • 50 Chuck Bowen
    One can chart the very moment that Victoria's existence slips out of the routine into the nightmarish, and there's no escape by temporal omission.
    • 40 Metascore
    • 50 Chuck Bowen
    Its openly mercenary ethos initially scan as a bracing lack of pretense in a market crammed to the gills with insidious faux-sentimentality, but its overstuffed relentlessness proves almost equally tedious.
    • 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.
    • 50 Metascore
    • 50 Chuck Bowen
    It evinces a qualified kind of courage in its anonymous convictions, parodying a world that barely ever existed by barely existing itself.
    • 39 Metascore
    • 50 Chuck Bowen
    In the end, it feels unavoidably dull, as there isn't much thematic ambiguity to be found in the assertion that humans deserve life that's defined by more than indentured servitude.
    • 57 Metascore
    • 50 Chuck Bowen
    Chad Archibald doesn't quite land Bite's transition over from claustrophobic character study into full-blown monster movie.
    • 28 Metascore
    • 50 Chuck Bowen
    The film belongs to a long tradition of horror films that offensively suggest that all atheists might as well hang a Welcome sign up for the devil.
    • 71 Metascore
    • 50 Chuck Bowen
    The pacing is so humorless and funereal that it squelches the possibility of heat or conflict arising between the characters.
    • 31 Metascore
    • 38 Chuck Bowen
    Yoav Factor can't decide whether he wants to play his broad scenario as an exaggerated farce or as a heartwarming testament to blood ties.
    • 52 Metascore
    • 38 Chuck Bowen
    It reveals itself to be a profoundly cynical movie posing as a work of idealism, and it's all the more insidious because it's otherwise so bland and forgettable.
    • 49 Metascore
    • 38 Chuck Bowen
    The key to good, or at least effective, agitprop (and Oliver Stone and Michael Moore know this) is that, yes, it must simplify matters, but it necessitates canny presentation so that it may truly get into viewers' blood streams and rile them.
    • 41 Metascore
    • 38 Chuck Bowen
    The film is a collection of consciously quirky indie tropes in place of any meaningful narrative, and you can practically see the notebook the filmmakers may have written in during a brainstorming session in a college screenwriting seminar.
    • 48 Metascore
    • 38 Chuck Bowen
    The film covers "The Texas Chainsaw Massacre" by way of Rob Zombie, Quentin Tarantino, and Ti West.
    • 36 Metascore
    • 38 Chuck Bowen
    Like Better Luck Tomorrow, it tries to cut cool-movie poses under the pretense of providing an alternative racial viewpoint to typical genre tropes.
    • 76 Metascore
    • 38 Chuck Bowen
    A Monster Calls is both governed and straitjacketed by director J.A. Bayona’s competent impersonality.
    • 63 Metascore
    • 38 Chuck Bowen
    The only truly graspable notion the film can be said to put forth is one of increasingly tedious sci-fi-romantic genre busy-ness.
    • 56 Metascore
    • 38 Chuck Bowen
    Benicio Del Toro's performance is showy, a great actor's parade of indulgences that occasionally sets the deranged camp tone that should have been the narrative's starting point.
    • 31 Metascore
    • 38 Chuck Bowen
    After a promising entrapment scene that offers some casually eerie narrative details, the film collapses, lurching awkwardly between a variety of tones and intentions.
    • 40 Metascore
    • 38 Chuck Bowen
    The film may take the notion of implication over illustration a bit too far.
    • 34 Metascore
    • 38 Chuck Bowen
    By the end, audiences will most likely feel as if they've been locked out of the drama that's presumably unfolding right in front of them.
    • 38 Metascore
    • 38 Chuck Bowen
    The film insufficiently connects the book's prophecy with its present-day, real-world forms of realization.

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