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 Sol LeWitt
Lowest review score: 0 Bless the Child
Score distribution:
  1. Negative: 73 out of 405
405 movie reviews
    • 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.
    • 41 Metascore
    • 40 Chuck Wilson
    A little of this goes a long way.
    • 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.
    • 49 Metascore
    • 40 Chuck Wilson
    Isn't art, but as date-night fright flicks go, it's effective.
    • 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.
    • 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.
    • 32 Metascore
    • 40 Chuck Wilson
    Anemic.
    • 49 Metascore
    • 40 Chuck Wilson
    Ghastly.
    • 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.
    • 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
    Boring.
    • 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.
    • 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.
    • 53 Metascore
    • 40 Chuck Wilson
    This film is lean, tight and irredeemably vile. People are gonna love it.
    • 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.
    • 18 Metascore
    • 40 Chuck Wilson
    There are all sorts of noteworthy people in this silly vampire epic, including acting greats Sir Ben Kingsley and Geraldine Chaplin, but the only artist this critic wants to heap praise upon is the regrettably unidentified Supervisor of Blood Splatter: Nice work, dude.
    • 41 Metascore
    • 40 Chuck Wilson
    Running Scared is decently acted and divertingly brutal, but it's also a giant step backward for its maker.
    • 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.
    • 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.
    • 17 Metascore
    • 40 Chuck Wilson
    The killer in this nasty yet taut slice-and-dice 'em horror flick is a collector of eyeballs, which he removes from his screaming victims with an efficient single swooping motion of his talon-like index finger. If that image makes you grin not cringe, then this movie's for you.
    • 33 Metascore
    • 40 Chuck Wilson
    The only thing more boring than a vampire with moral issues about biting people in the neck is a werewolf who’d rather become fully human than howl at the moon once a month.
    • 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.
    • 38 Metascore
    • 40 Chuck Wilson
    Despite a few manic comic episodes, writer-directors Alexandre Charlot and Franck Magnier never again capture the sense of joyous connection that can exist between child and pet.
    • 30 Metascore
    • 30 Chuck Wilson
    Drab and muddled romance.
    • 34 Metascore
    • 30 Chuck Wilson
    Bass isn't a gifted actor, but he retains his dignity, mostly by keeping his head down and avoiding the eyes of the idiots around him.
    • 20 Metascore
    • 30 Chuck Wilson
    The director and her capable cast appear to be caught in a heady whirl of New Age–inspired good intentions, but the spell they cast isn't the least bit mesmerizing.
    • 34 Metascore
    • 30 Chuck Wilson
    Like the film's characters, the city of Paris has been made faceless, as if it too were merely the pawn in a representational hell where light and color and shading are forbidden.
    • 60 Metascore
    • 30 Chuck Wilson
    The one saving grace is a sweet, affecting performance by Werner de Smedt.