For 419 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
  • TV
Average review score: 54
Highest review score: 100 Sol LeWitt
Lowest review score: 0 The Singing Forest
Score distribution:
  1. Negative: 74 out of 419
419 movie reviews
    • 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.
    • 79 Metascore
    • 100 Chuck Wilson
    The film's finale is wild and daring and so perfectly executed that it marks Wright as one of the film year's most audacious new voices.
    • 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.
    • 76 Metascore
    • 90 Chuck Wilson
    Housebound is a tad long, and its murder mystery a bit of a muddle, but that doesn’t matter. The final third is virtuoso.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 48 Metascore
    • 80 Chuck Wilson
    Surprisingly smart film.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 80 Chuck Wilson
    Moving and vibrant Italian-language film.
    • 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.
    • tbd Metascore
    • 80 Chuck Wilson
    This movie is only 75 minutes long, so it's too bad that Hubner rushes the finale -- too much triumph, too little emotion -- but when the grooves are this rich, all is forgiven.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 80 Chuck Wilson
    It's the cinematic equivalent of glancing up at the sky and taking a good deep breath.
    • 79 Metascore
    • 80 Chuck Wilson
    A resonance that is moving beyond all measure.

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