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 6.2 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 New Best Friend
Score distribution:
  1. Negative: 74 out of 419
419 movie reviews
    • 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.
    • 49 Metascore
    • 40 Chuck Wilson
    Isn't art, but as date-night fright flicks go, it's effective.
    • 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.
    • 39 Metascore
    • 40 Chuck Wilson
    A twisted black comedy -- The accomplished ensemble meshes nicely, but the actors all look pale and exhausted, an effect that may be a byproduct of the film’s photography, which is terrible.
    • 27 Metascore
    • 40 Chuck Wilson
    Rosman and Wendkos run dry of ideas in the film's inert, overextended finale, when the "Believe in yourself" speeches grow so thick that even the Duff-devoted may start rolling their eyes.
    • 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.”
    • 41 Metascore
    • 40 Chuck Wilson
    This perfectly distracting, ultimately unsatisfying film feels like a James Bond flick in which the stand-in got the lead.
    • 41 Metascore
    • 40 Chuck Wilson
    A little of this goes a long way.
    • 48 Metascore
    • 40 Chuck Wilson
    Begins so well that it's painful to watch it degenerate into tried-and-true frat-boy humor.
    • 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.
    • 45 Metascore
    • 40 Chuck Wilson
    What's missing is any sense of why such a handsome man is afraid of women. That makes the premise hard to swallow, especially since Harrington is too commanding to be a believable dweeb. The actor does achieve moments of pathos, only to be undone by a silly script.
    • 18 Metascore
    • 40 Chuck Wilson
    For this violent yet gore-free film, clearly designed for horny teenaged video game wizards, writer-director Kurt Wimmer stages a succession of fight sequences that pit V against helmeted thugs who appear to have raided the Star Wars storm trooper costume closet.
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Chuck Wilson
    Sam Esmail’s first film has a visual assurance that suggests the arrival of a gifted director, but the characters he’s created are so off-putting that viewers aren’t likely to appreciate the beauty surrounding them.
    • 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.
    • 54 Metascore
    • 40 Chuck Wilson
    First-time screenwriter James C. Strouse (in whose hometown the film was shot) provides so few clues to the source of Jim's malaise, or that of his entire sad-sack family, that the movie remains rudderless and not the least bit believable.
    • 46 Metascore
    • 40 Chuck Wilson
    Creepy enough at first, this relatively gore-free film gradually becomes a stifling talk-fest in which superb actors drone on for so long about the nature of belief that one longs for a juror to spew a little pea soup.
    • 41 Metascore
    • 40 Chuck Wilson
    Running Scared is decently acted and divertingly brutal, but it's also a giant step backward for its maker.
    • 36 Metascore
    • 40 Chuck Wilson
    Mostly, Shafer and co-writer Gregory Hinton lack a strong-minded viewpoint, or a sense of humor, about a world in which the DJ has the power to unify, if only for a night, men of godlike beauty and the mortals who worship them.
    • 27 Metascore
    • 40 Chuck Wilson
    Surely the only thing more excruciating than being trapped in a car with a bratty child is having to sit through a road-trip movie that features two of them.
    • 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.
    • 43 Metascore
    • 40 Chuck Wilson
    In many ways, Marshall and Barrymore are an equal match -- while both have a flair for the small touches that build a good comic scene, each lacks the complex layering of motive and emotion that make a human life believably real.
    • 45 Metascore
    • 40 Chuck Wilson
    Heartfelt yet overly schematic debut feature.
    • 39 Metascore
    • 40 Chuck Wilson
    Parkhill's heart seems to belong to 1940s film noir, where a lonely man could be driven half-mad by the sight of a mystery woman performing a hot flamenco dance, a scene Parkhill stages here to unintentional titter-inducing effect.
    • 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.
    • 53 Metascore
    • 40 Chuck Wilson
    This film is lean, tight and irredeemably vile. People are gonna love it.
    • 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.

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