For 405 reviews, this critic has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 6.4 points lower than other critics. (0-100 point scale)

Chuck Wilson's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Ernest & Célestine
Lowest review score: 0 Lower Learning
Score distribution:
  1. Negative: 73 out of 405
405 movie reviews
    • 86 Metascore
    • 100 Chuck Wilson
    Ernest & Celestine -- a contender for this year's best animated film Oscar -- is pure delight.
    • 76 Metascore
    • 100 Chuck Wilson
    It Felt Like Love is brilliantly, brutally tactile.
    • 83 Metascore
    • 100 Chuck Wilson
    Chris Teerink's superb film documents the work of artist Sol LeWitt (1928-2007), whose legacy lies not only in past accomplishments, but in the work he left for others to complete.
    • 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.
    • 69 Metascore
    • 90 Chuck Wilson
    The Belgian Roskam, making only his second feature film, and his first in English, displays remarkable assurance, with both the actors and the film’s very American setting. He creates an escalating sense of dread, tinged with Lehane’s brand of mordant humor.
    • 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.
    • 48 Metascore
    • 80 Chuck Wilson
    Surprisingly smart film.
    • 77 Metascore
    • 80 Chuck Wilson
    Nair, who, in this film as in so many others, aims for the beating heart of the predictable movie moment.
    • 71 Metascore
    • 80 Chuck Wilson
    Although parents of small children are advised to give the film an advance look, Holes may nudge older kids toward that most ancient of after-school distractions: reading.
    • 82 Metascore
    • 80 Chuck Wilson
    This filmed record is a musical bliss-out.
    • 52 Metascore
    • 80 Chuck Wilson
    By the end of this likely cult classic (only 80 minutes long), when Evie has an amphetamine-induced meltdown during her cable-access comeback show, these divas are as recognizably human as you and me, only sluttier, and with cattier one-liners.
    • 70 Metascore
    • 80 Chuck Wilson
    A career best for the daughter of Charlie Chaplin.
    • 75 Metascore
    • 80 Chuck Wilson
    Fascinating film, which tracks Éva's slowly dawning realization that she's being played for a fool, an insight that may be driving her mad.
    • 62 Metascore
    • 80 Chuck Wilson
    (Emile Hirsch) a miraculous young actor.
    • 64 Metascore
    • 80 Chuck Wilson
    Smart, goofy and endearing, Cho and Penn make a terrific team, and the fact that they're starring in their own movie suggests that, in the Hollywood comedy frat house, there's finally room for everyone.
    • 74 Metascore
    • 80 Chuck Wilson
    The true mystery, Red Lights' real thrill ride -- and what seems to interest Kahn most, despite his skill at arranging the trappings of suspense -- is marriage.
    • 74 Metascore
    • 80 Chuck Wilson
    Yu has transferred to her superb film, the hushed awe she must have felt the day she walked into the room - and, in a sense, the mind - of this strange, singular individual.
    • 80 Metascore
    • 80 Chuck Wilson
    It's the cinematic equivalent of glancing up at the sky and taking a good deep breath.
    • 64 Metascore
    • 80 Chuck Wilson
    Amusing, beautifully drawn one-hour film.
    • 74 Metascore
    • 80 Chuck Wilson
    Millions is an intelligent children’s film that may prove to be a guilty pleasure for adults.
    • 63 Metascore
    • 80 Chuck Wilson
    This very funny, very British movie -- directed by newcomer Garth Jennings -- has sci-fi effects that are impressive yet appropriately cheesy.
    • 64 Metascore
    • 80 Chuck Wilson
    It's fine stuff, beautifully played, but there's no denying that viewers will have to be patient with this 80-minute chamber piece, the first third of which feels cold and false, only to suddenly shift into unexpectedly deep emotional territory.
    • 74 Metascore
    • 80 Chuck Wilson
    Zeiger's superb documentary about the Vietnam War era's GI protest movement is jammed with incident and anecdote and moves with nearly as much breathless momentum as the movement itself.
    • 77 Metascore
    • 80 Chuck Wilson
    Mountain Patrol: Kekexili is sometimes slow going, yet it builds in power as nature begins to take its toll on the patrol, and its cumulative effects are haunting.
    • 67 Metascore
    • 80 Chuck Wilson
    Yes, this is another faux rock documentary, but one so dramatically and visually textured that it reinvents that decidedly worn genre.
    • 57 Metascore
    • 80 Chuck Wilson
    This horror comedy is loaded with decapitations, bodies torn in two and spewing blood, and yet, unlike the grim, torture-filled gore-fests of late, Hatchet’s mayhem is so giddily over-the-top that you end up applauding the low-budget aplomb of it all.
    • 81 Metascore
    • 80 Chuck Wilson
    To describe the novelist's final days, Bachardy opens a drawer and begins pulling out the magnificent deathbed drawings he did of Isherwood -- a fusion of art and love that's deeply moving.
    • 68 Metascore
    • 80 Chuck Wilson
    Grounded by strong performances by newcomers Featherston and Sloat, who pretty much have the movie to themselves, Paranormal Activity, which demands to be seen in a crowded theater, is refreshingly blood-free.
    • 54 Metascore
    • 80 Chuck Wilson
    Deftly mixing the visual exuberance of “Trainspotting” with the familial pathos of “Angela’s Ashes,” the gifted van Groeningen offers gleeful depictions of drinking contests and naked bicycle races that gradually give way to a sense of moral peril for young Gunther.
    • 57 Metascore
    • 80 Chuck Wilson
    The plotting as a whole feels fresh, as does the emphasis on women strong enough to defend themselves.
    • 53 Metascore
    • 80 Chuck Wilson
    Vibrant cameo performances by two of our most engaging young actors—Jesse Eisenberg and Jason Ritter—along with one film legend—Tippi Hedren—transform this modest comedy into something special.
    • 57 Metascore
    • 80 Chuck Wilson
    From cinematographer Corey Rich's beautifully framed footage, Wampler's wife, Elizabeth, making her directorial debut, has assembled a stirring film that's part documentary, and part promotional tool.
    • 61 Metascore
    • 80 Chuck Wilson
    Writer-director Christian Vincent and co-writer Étienne Comar, aided by Frot's quiet intensity, imbue Hortense's quest to pull off culinary miracles with an urgency that's almost absurdly compelling, and all the more entertaining for it.
    • 42 Metascore
    • 70 Chuck Wilson
    A smooth little comedy deserving of more studio support than it got.
    • 49 Metascore
    • 70 Chuck Wilson
    As with most of Toback's films, there are Big Ideas being bandied about that never quite coalesce, a failing that, this time at least, mirrors his hero's own hyped-out search for meaning.
    • 48 Metascore
    • 70 Chuck Wilson
    This is the first Broadway-sourced movie musical in umpteen years, and you should see it, because the score is gorgeous.
    • 44 Metascore
    • 70 Chuck Wilson
    This is one of the few treatments of the macabre in animation that is authentically unnerving, rather than merely gross or campy.
    • 69 Metascore
    • 70 Chuck Wilson
    The British music-video director Peter Care (making his feature debut) and screenwriters Jeff Stockwell and Michael Petroni have retained much of the wry, teen-wise dialogue from the late Chris Fuhrman's cult-hit novel, while giving his story arc a fuller, more rounded shape.
    • 64 Metascore
    • 70 Chuck Wilson
    The film is being sold as a comedy, and it is amusing. Secretly, though, it's a romance, with Merchant's roving camera discerning the tempestuous love triangle at the heart of Naipaul's novel.
    • L.A. Weekly
    • 63 Metascore
    • 70 Chuck Wilson
    The purest of horror films.
    • 60 Metascore
    • 70 Chuck Wilson
    Having built his cast from friends and family, the director is left with some stilted acting, but that's easily outweighed by the film's infectious enthusiasm.
    • 60 Metascore
    • 70 Chuck Wilson
    All of this looks great on the giant IMAX screen -- most things do -- but the filmmakers can't shake the sense that this is an inflated TV special.
    • 54 Metascore
    • 70 Chuck Wilson
    With the supremely gifted Rudd as his point man, Peretz is often ruthless in depicting Americans abroad as deluded cretins; by film’s end, however, he finds their optimism useful for re-firing the defeated hearts of his characters, even the hope-leery French ones.
    • 47 Metascore
    • 70 Chuck Wilson
    A surprisingly smart satire around the bubble-gum band that first found life in the pages of the Archie comic book series.
    • 46 Metascore
    • 70 Chuck Wilson
    A film we hereby proclaim the finest fertility comedy ever made, in the faint hope that another will not be attempted.
    • 56 Metascore
    • 70 Chuck Wilson
    Visibly uninspired, Pacino gives a perfunctory performance -- though surely he must have looked over at Farrell and been reminded of himself 30 years ago, all jacked-up and beautiful, like a stallion at the gate.
    • 47 Metascore
    • 70 Chuck Wilson
    Although the film is a tad long, Mirkin ("Romy and Michele's High School Reunion") has managed to pull off a classy, gently funny movie in which no one throws up, a rare blessing these days.
    • 45 Metascore
    • 70 Chuck Wilson
    Director Chuck Russell ("The Mask") keeps the computer effects to a minimum, emphasizing instead the essential ingredients of a Saturday-afternoon serial, namely, venom-tipped arrows, pissed-off cobras and a buxom babe.
    • 44 Metascore
    • 70 Chuck Wilson
    This whole movie is fun, and smart too, a fitting tribute to Jay Ward's original cartoons.
    • 47 Metascore
    • 70 Chuck Wilson
    This is a small, funny movie drawn from the radical notion that a love born of late-night lust can survive the glaring light of day.
    • 62 Metascore
    • 70 Chuck Wilson
    Charming, animated retelling of stories from A.A. Milne’s Winnie-the-Pooh books.
    • 69 Metascore
    • 70 Chuck Wilson
    Unexpectedly moving documentary.
    • 71 Metascore
    • 70 Chuck Wilson
    Mahieux, who is superb, methodically paint Peppino as a man for whom solitude is torture.
    • 54 Metascore
    • 70 Chuck Wilson
    The 1978 frat-house classic "Animal House," starring the late, great John Belushi, is the model for testosterone-mad comedies such as this, and while it hasn't that film's scope or finesse, Old School does have Ferrell, a man clearly in touch with his inner Belushi.
    • 53 Metascore
    • 70 Chuck Wilson
    The jewel in this well-rounded collection of gay-themed shorts is Alan Brown's "O Beautiful."
    • 53 Metascore
    • 70 Chuck Wilson
    Formulaic but infectiously happy comedy.
    • 41 Metascore
    • 70 Chuck Wilson
    Zippy, stylish fun.
    • 47 Metascore
    • 70 Chuck Wilson
    Karen Black gives her sharpest performance in years as Bambi LeBleau, a roadside-dive karaoke hostess who invites the kids back to her house for a night of booze and lounge classics.
    • 71 Metascore
    • 70 Chuck Wilson
    Slow-starting but ultimately invigorating debut film by Craig Highberger.
    • 49 Metascore
    • 70 Chuck Wilson
    Despite the rush to get everyone from place to place, director Frank Coraci (The Wedding Singer, The Waterboy) luxuriates in colorful visual detail and gives the locals their due.
    • 52 Metascore
    • 70 Chuck Wilson
    Screenwriter Vincent Molina and director Fabrice Cazaneuve are wonderfully calm about the tumult of teen life.
    • 60 Metascore
    • 70 Chuck Wilson
    Unsatisfying as crime drama but haunting as a meditation on marriage.
    • 49 Metascore
    • 70 Chuck Wilson
    Ardant gives in this film the performance of her life, lip-synching to the voice of the real Callas.
    • 57 Metascore
    • 70 Chuck Wilson
    In movies, the young are forever being taken back in time by the old, but what sets apart this low-energy yet ambitious debut feature by writer-director Rodney Evans is the complexity of the questions that journey raises.
    • 65 Metascore
    • 70 Chuck Wilson
    Gradually, and with a kind of inquisitive generosity, the filmmaker's scope expands to take in Casim's parents and two sisters, whose public shame and private despair at having the only son move in with a “goree” - a white girl - is made palpably, wrenchingly real.
    • 50 Metascore
    • 70 Chuck Wilson
    Writer-director Richard Day, whose debut feature, the drag comedy Girls Will Be Girls, was shamefully neglected by critics and audiences alike, proves again that he's the new master of the catty one-liner, and he's also becoming a striking visual stylist.
    • 71 Metascore
    • 70 Chuck Wilson
    In this lovely film, writer-director Khientse Norbu (The Cup) shifts smoothly between a kind of Buddhist "The Postman Always Rings Twice" and depicting the bonds that form among Dondup and his companions.
    • 32 Metascore
    • 70 Chuck Wilson
    Unexpectedly gripping horror movie.
    • 58 Metascore
    • 70 Chuck Wilson
    A passionately told tale.
    • 49 Metascore
    • 70 Chuck Wilson
    Has surprising depth and charm, descriptors never before ascribed to a movie starring Ashton Kutcher.
    • 70 Metascore
    • 70 Chuck Wilson
    Zoe is lively and an astonishing athlete, but it's Jeannie who gives this film resonance.
    • 37 Metascore
    • 70 Chuck Wilson
    What's fun is that the road to that climactic Capitol showdown is paved with one ridiculous and relentlessly edited set piece after another.
    • 41 Metascore
    • 70 Chuck Wilson
    While it isn't surprising that improv gods Short and fellow SNL vet Jan Hooks, as Glick's wife, Dixie, are brilliant, who knew that perennial onscreen good girl Elizabeth Perkins, playing here a has-been bitch-diva, could be so brittle and sexy?
    • 71 Metascore
    • 70 Chuck Wilson
    Deep Blue runs just shy of 90 minutes, and this pathetic landlubber of a movie critic must confess to growing restless here and there, an example of how quickly awestruck wonder can turn to apathy.