For 416 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 6 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 New Best Friend
Score distribution:
  1. Negative: 74 out of 416
416 movie reviews
    • 60 Metascore
    • 40 Chuck Wilson
    Eventually it all starts to feel like an extended European perfume ad: pretty but eye-rollingly pretentious.
    • 41 Metascore
    • 40 Chuck Wilson
    A little of this goes a long way.
    • 46 Metascore
    • 40 Chuck Wilson
    Off sorority row, the movie goes flat for increasingly long stretches, with the filmmakers displaying so little understanding of or genuine feeling for the mentally challenged that they never advance past stutter-and-stumble humor.
    • 37 Metascore
    • 40 Chuck Wilson
    Writer-director Mick Garris has a real feeling for the horror master's melancholy worldview - love is loss - but he's too reverent toward the original story, the ending of which, both on the page and, now, on the screen, lands with an overly elegiac thud.
    • 34 Metascore
    • 40 Chuck Wilson
    This should have been Beatty's "Wonder Boys," but the filmmakers don't seem to realize they've sent their hero on a sexual adventure that neither his heart nor his dick needs to take.
    • tbd Metascore
    • 40 Chuck Wilson
    Sleek, not-quite-trashy-enough melodrama.
    • 38 Metascore
    • 40 Chuck Wilson
    The cast of the original looks Shakespearean in comparison to Cook and her hapless cohorts, but to be fair, those first dead ducks had a real script to explore, which this bunch does not.
    • 44 Metascore
    • 40 Chuck Wilson
    The film is sporadically amusing, especially early on. But as the gross-outs dwindle, one is left to contemplate if Stiller has always been this neckless and to wonder just why Aniston wastes her summer vacation on junk such as this.
    • 33 Metascore
    • 40 Chuck Wilson
    Devotes too much time to a shrill, unfunny security guard who's pursuing the girls, but he does stage some zippy sequences, from the red-clad Julie's skateboard dash home to witty bits involving an energy-depleted electric car.
    • 14 Metascore
    • 40 Chuck Wilson
    Full of gumption, Clarkson and Guarini soldier on, seemingy unaware that the perfectly adequate singing voices that brought them to the big screen are being drowned out, on a half-dozen same-sounding songs, by an overlayered backup group.
    • 34 Metascore
    • 40 Chuck Wilson
    Those expecting a reunion with Jackson, Travolta's “Pulp Fiction” co-star, should be prepared: They don't interact at all, which is a bit like casting Fred Astaire and Ginger Rogers and not letting them dance together.
    • 30 Metascore
    • 40 Chuck Wilson
    Townsend and Aaliyah are sexy as hell, and clearly willing and able to explore the darker truths of villainy, but they can't compete against the unwieldy script.
    • 48 Metascore
    • 40 Chuck Wilson
    Begins so well that it's painful to watch it degenerate into tried-and-true frat-boy humor.
    • 42 Metascore
    • 40 Chuck Wilson
    Beautiful in its dark, contrasting blues and blacks, Underworld is nonetheless a remarkably humorless movie, and not even the adroitly hammy Bill Nighy, as the vampire king, can leaven the overwrought seriousness of it all.
    • 22 Metascore
    • 40 Chuck Wilson
    There’s no point slamming this fart-and-burp teen flick, since the chortles of the 11-year-old boys -- and the men with an 11-year-old's disposition -- at a recent mall screening can't be denied.
    • 43 Metascore
    • 40 Chuck Wilson
    Amiable but not especially funny film.
    • 30 Metascore
    • 40 Chuck Wilson
    A film where everyone -- white, black, gay or otherwise -- is equally, lovably dumb.
    • 49 Metascore
    • 40 Chuck Wilson
    Isn't art, but as date-night fright flicks go, it's effective.
    • 33 Metascore
    • 40 Chuck Wilson
    Duff, who became a teen-set role model portraying Lizzie McGuire for Disney, has sold over four million records and toured to packed houses, yet screenwriter Sam Schreiber and director Sean McNamara, both making feature debuts, set her up to sing just one song through to completion.
    • 35 Metascore
    • 40 Chuck Wilson
    This is efficient, soul-numbing moviemaking, diverting enough for blistering September afternoons when what's onscreen is secondary to how high they've cranked the air conditioning.
    • 40 Metascore
    • 40 Chuck Wilson
    In the end it doesn't lead to much beyond weepy melodrama. Still, McGuigan draws committed performances from a talented cast.
    • 33 Metascore
    • 40 Chuck Wilson
    Maher's filmmaking is competent -- the sets are inventive, and all the camera angles match up -- but someone should have warned her that neither she nor her young cast is experienced enough to pull off the line “The only people buying it are the faggots.”
    • tbd Metascore
    • 40 Chuck Wilson
    Lee has heaped so many social ills on his heroine that it's difficult to buy any of it, especially when the story slips into silliness involving bad guys and missing drugs.
    • 34 Metascore
    • 40 Chuck Wilson
    One feels sympathy for the ensemble, which, absent full-bodied characters to inhabit, mug furiously, as if big gestures conjure big themes.
    • 47 Metascore
    • 40 Chuck Wilson
    Proteus carries an air of forced-wit experimentation that never quite gets its anachronisms in order -- this 18th-century tale features a Jeep, a radio, and female court reporters with typewriters and bouffant hairdos.
    • 31 Metascore
    • 40 Chuck Wilson
    Director Roger Christian (Battlefield Earth -- yes, that Battlefield Earth) and screenwriters Scott Duncan and Ned Kerwin have been influenced more by James Bond than El Mariachi–style spaghetti Westerns.
    • 24 Metascore
    • 40 Chuck Wilson
    This peculiar little comedy, shot on digital video, gets points for editorial pizzazz, but earns a big zero for content.
    • 36 Metascore
    • 40 Chuck Wilson
    Lotus Eaters, which McGuinness co-wrote with Brendan Grant, is maddeningly shallow—maybe that's the point—but McGuinness does have talent.
    • 43 Metascore
    • 40 Chuck Wilson
    Aided by capable if unnecessary 3D effects, Petty displays a flair for staging violent action, but he's trapped inside a broad comic set-up that doesn't mesh with the story's innate meanness.
    • 32 Metascore
    • 40 Chuck Wilson
    Immigrant is reportedly based on writer-director Barry Shurchin's own family history, but the story he's chosen to tell is so melodramatic and relentlessly grim that any passion he feels for the material isn't reflected onscreen.

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