For 394 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 It Felt Like Love
Lowest review score: 0 Lower Learning
Score distribution:
  1. Negative: 69 out of 394
394 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.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 90 Chuck Wilson
    Maintains a reflective, bittersweet tone that's almost 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.
    • 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.
    • 72 Metascore
    • 90 Chuck Wilson
    [A] pitch-perfect, deeply affecting film.
    • 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
    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.
    • 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.
    • 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.
    • 48 Metascore
    • 80 Chuck Wilson
    Surprisingly smart film.
    • 73 Metascore
    • 80 Chuck Wilson
    Captured extraordinary performances from a cast of non-actors, as well as magnificent images of a vast landscape.
    • 52 Metascore
    • 80 Chuck Wilson
    Powerful war satire.
    • 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.
    • 79 Metascore
    • 80 Chuck Wilson
    A resonance that is moving beyond all measure.
    • 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.
    • 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.
    • 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.