For 415 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 Sol LeWitt
Lowest review score: 0 Lower Learning
Score distribution:
  1. Negative: 74 out of 415
415 movie reviews
    • 38 Metascore
    • 50 Chuck Wilson
    As Above, So Below is sometimes creepy but mostly silly, which is too bad because the film's cramped subterranean setting is inherently unnerving.
    • 68 Metascore
    • 50 Chuck Wilson
    Watermark is a documentary filled with images both beautiful and wrenching, yet the film as a whole is a disappointment.
    • 53 Metascore
    • 40 Chuck Wilson
    This film is lean, tight and irredeemably vile. People are gonna love it.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 58 Metascore
    • 40 Chuck Wilson
    Despite crisp photography and the director's gift for building a scene, the film doesn't click until the third act, when Mos Def's performance as Dre's protégé appears to energize everyone around him.
    • 36 Metascore
    • 40 Chuck Wilson
    Coury has made a technically polished first film, but her sense of comic timing and sexual politics is strictly borscht belt.
    • 56 Metascore
    • 40 Chuck Wilson
    At only 84 minutes, Phone Booth's brevity turns out to be its only saving grace.
    • 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.
    • 36 Metascore
    • 40 Chuck Wilson
    Aiming to elicit a last-minute shiver from the audience, Gaghan is likely to get instead a mood-destroying giggle.
    • 48 Metascore
    • 40 Chuck Wilson
    Until its dismaying final 15 minutes, this baseball redemption movie sails along on the charms of cute kids and a star who makes up in bone structure what he lacks in talent.
    • 45 Metascore
    • 40 Chuck Wilson
    Heartfelt yet overly schematic debut feature.
    • 41 Metascore
    • 40 Chuck Wilson
    More dispiriting than the caricatured Italian families is the sense that, by picture's end, the filmmakers have neutered Angelo, so that his sexual energy is dulled, made non-threatening -- the perfect son after all.
    • 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.
    • 49 Metascore
    • 40 Chuck Wilson
    Von Trotta and co-writer Pamela Katz can't resist cutting, again and again, to Hannah and her airless musings on the story's meaning. These interludes stop the movie in its tracks and, counter no doubt to von Trotta's intentions, do a disservice to the Rosenstrasse women themselves, who shouldn't have to fight for screen time.
    • 32 Metascore
    • 40 Chuck Wilson
    The director pulls back from the hotel, placing it against the skyline of our beautiful city, which appears to be waiting, patiently, for a more original exploration of its inhabitants.

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