For 395 reviews, this critic has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 5.9 points lower than other critics. (0-100 point scale)

Chuck Wilson's Scores

  • Movies
Average review score: 53
Highest review score: 100 Ernest & CĂ©lestine
Lowest review score: 0 New Best Friend
Score distribution:
  1. Negative: 69 out of 395
395 movie reviews
    • 86 Metascore
    • 100 Chuck Wilson
    Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.
    • 77 Metascore
    • 100 Chuck Wilson
    It Felt Like Love is brilliantly, brutally tactile.
    • 81 Metascore
    • 90 Chuck Wilson
    There's no denying the overwhelming force of the giant IMAX screen, as we're reminded that each of us is the coolest special effect ever.
    • 80 Metascore
    • 90 Chuck Wilson
    Maintains a reflective, bittersweet tone that's almost tactile.
    • 73 Metascore
    • 90 Chuck Wilson
    The last-minute details of plot can't compete with the frightening intensity of Kiberlain's and Garcia's performances, which trace, with brilliant precision, the exhausting mix of brutality and grace inherent in the mother-daughter relationship.
    • 76 Metascore
    • 90 Chuck Wilson
    While it's Dave's madly humming brain that propels the film, Davis, whose every glance is a short story in itself, makes Dana's internal crisis equally resonant.
    • 74 Metascore
    • 90 Chuck Wilson
    The superb ensemble never plays for sympathy, and the movie isn't as depressing as it may sound. Its hushed, contemplative quality is oddly affecting.
    • 48 Metascore
    • 90 Chuck Wilson
    While Parker and co-writer Catherine di Napoli are faithful to Melville’s plotline, they and a fully engaged supporting cast — have made the old boy's characters more quick-witted than any English Lit major would have thought possible.
    • 72 Metascore
    • 90 Chuck Wilson
    [A] pitch-perfect, deeply affecting film.
    • 74 Metascore
    • 90 Chuck Wilson
    Lowery isn't a Malick and he's certainly no Kazan, but he's his own man, and a filmmaker to watch.
    • 67 Metascore
    • 90 Chuck Wilson
    To use a phrase from the film, The Armstrong Lie is a "myth-buster." It's wholly necessary, brilliantly executed, and a complete bummer.
    • 68 Metascore
    • 80 Chuck Wilson
    Kane believes in happy endings, but he makes his characters earn theirs, as each couple is forced, ever so subtly, to face its own inner nonsense. The filmmaker has divine actors at his disposal.
    • 72 Metascore
    • 80 Chuck Wilson
    These women are smart, funny and wonderfully real, traits that one might safely attribute to Westfeldt and Juergensen, who also wrote the screenplay.
    • 63 Metascore
    • 80 Chuck Wilson
    Mitchell -- gives a harrowing, beautifully conceived performance, the depth and arc of which can't be fully appreciated until the film's final scene.
    • 60 Metascore
    • 80 Chuck Wilson
    Beautifully acted film remains deeply intelligent and always fascinating.
    • 73 Metascore
    • 80 Chuck Wilson
    Captured extraordinary performances from a cast of non-actors, as well as magnificent images of a vast landscape.
    • 69 Metascore
    • 80 Chuck Wilson
    Moving and vibrant Italian-language film.
    • 66 Metascore
    • 80 Chuck Wilson
    Returning director Rob Minkoff (The Lion King) and screenwriter Bruce Joel Rubin (Ghost) have done a fine job of updating White's dry wit to a new age, led in no small measure by Lane, who could probably make the IRS code book sound funny.
    • 61 Metascore
    • 80 Chuck Wilson
    Reynolds, working in close harmony with cinematographer Andrew Dunn (Gosford Park), brings an infectious brio and an occasional sweeping grace to the classic trappings of Dumas.
    • 61 Metascore
    • 80 Chuck Wilson
    It's one of many references to the movie-wise, but a resonant one, for Glover's performance turns out to be shockingly emotional, drawn as daringly close to the bone -- within this story's limited thematic range -- as Anthony Perkins' work in Hitchcock's seminal film.
    • 79 Metascore
    • 80 Chuck Wilson
    A resonance that is moving beyond all measure.
    • 45 Metascore
    • 80 Chuck Wilson
    Those who can forgive the director's pretensions will discover some fine filmmaking.
    • 75 Metascore
    • 80 Chuck Wilson
    For these gifted directors and their fine ensemble, the notion that every life forms into a mosaic of intimate, largely unobserved details is the story most worth telling.
    • 50 Metascore
    • 80 Chuck Wilson
    For the first time in years, De Niro digs deep emotionally, perhaps because he's been stirred by the powerful work of his co-stars, including a subtle Frances McDormand and a ferocious Patti LuPone, as well as the heartbreaking (and achingly beautiful) Franco.
    • 73 Metascore
    • 80 Chuck Wilson
    This is writer-director Hilary Birmingham's first film, and it's a lovely thing, as reserved and unfussy as its characters and, like them, full of surprises.
    • 60 Metascore
    • 80 Chuck Wilson
    Looks drab and doesn't take very good advantage of its New York locations, but the neurotic intensity and emotional honesty of its two leads more than make up for it.
    • 71 Metascore
    • 80 Chuck Wilson
    Accomplished and invigorating debut feature from Colombian-born director Patricia Cardoso that took both the Audience Award and a Special Jury Prize at Sundance this year.
    • 58 Metascore
    • 80 Chuck Wilson
    Turns out to be that rarest of Hollywood creatures: a sequel that one-ups the original…These two smart, happy movie stars prove that silliness doesn’t have to be moronic.
    • 63 Metascore
    • 80 Chuck Wilson
    Wise and moving.
    • 52 Metascore
    • 80 Chuck Wilson
    Powerful war satire.