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 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
    • 45 Metascore
    • 50 Chuck Wilson
    One expects razzle-dazzle dance sequences to lift this movie above its clichés, but they are few and far between, which is not only disappointing, it's downright baffling.
    • 49 Metascore
    • 50 Chuck Wilson
    What's memorable here is the sparkling chemistry between Bates and Woodard, whose scenes together are a pleasure to watch, even as one thinks that their next outing should be to co-teach a master class entitled, "How To Rise Above Cliché."
    • 44 Metascore
    • 50 Chuck Wilson
    This ensemble drama is passionately acted and nicely shot, but the storytelling of first-time writer-director Dan Kay is infused with an archaic naiveté.
    • 30 Metascore
    • 50 Chuck Wilson
    It's short, this movie, an attribute Sandler himself might take heed of, and if the teenagers in the back row are laughing harder and more often, you might at least find yourself smiling (guiltily) every few minutes.
    • 56 Metascore
    • 50 Chuck Wilson
    Less about music than about the possibilities of the IMAX system itself.
    • 43 Metascore
    • 50 Chuck Wilson
    In this serviceable remake of the fondly remembered 1959 Disney comedy (which starred Fred MacMurray), an impressively dexterous Tim Allen plays Dave Douglas.
    • 29 Metascore
    • 50 Chuck Wilson
    The story may not be new, but Australian director John Polson, making his American feature debut, jazzes it up adroitly, with a nifty, staccato editing technique that suggests Madison's inner turmoil and, in the process, fills in some of the shading missing from Christensen's performance.
    • 31 Metascore
    • 50 Chuck Wilson
    The career of the lovably tense Zahn may benefit more from this movie than that of Lawrence, who’s funny, here and there, but who appears to be working at half speed.
    • 37 Metascore
    • 50 Chuck Wilson
    Gibson and Good deliver such emotionally honest performances that we wish them a happy ending, no matter how many movie clichés have to be trotted out to get there.
    • 42 Metascore
    • 50 Chuck Wilson
    Mandoki's a pro, but a juiceless one, with only enough energy to reach the finish line, which becomes the viewer's goal as well.
    • 48 Metascore
    • 50 Chuck Wilson
    The movie deflates, but you still can't take your eyes off Gershon, who does her own singing, is fearless in the one girl-on-girl make-out scene, and is mesmerizing throughout -- an underused Barbara Stanwyck in a Gwyneth Paltrow age.
    • 39 Metascore
    • 50 Chuck Wilson
    Even the director's flat-footed moves can't quell Martin and Latifah, whose combined energy is fearsome and sometimes most amusing.
    • 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.
    • 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.
    • 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.
    • 60 Metascore
    • 40 Chuck Wilson
    Eventually it all starts to feel like an extended European perfume ad: pretty but eye-rollingly pretentious.
    • 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.
    • tbd Metascore
    • 40 Chuck Wilson
    Sleek, not-quite-trashy-enough melodrama.
    • 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
    Aiming to elicit a last-minute shiver from the audience, Gaghan is likely to get instead a mood-destroying giggle.
    • 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.
    • 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.
    • 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.
    • 56 Metascore
    • 40 Chuck Wilson
    At only 84 minutes, Phone Booth's brevity turns out to be its only saving grace.
    • 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.
    • 32 Metascore
    • 40 Chuck Wilson
    Anemic.
    • tbd Metascore
    • 40 Chuck Wilson
    Bridging the Gap is gorgeous and weird.
    • 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.
    • 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.

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