For 449 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 8.1 points lower than other critics. (0-100 point scale)

Chuck Wilson's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 For Those in Peril
Lowest review score: 0 Bless the Child
Score distribution:
  1. Negative: 78 out of 449
449 movie reviews
    • 59 Metascore
    • 50 Chuck Wilson
    Filled with the kind of frank, nonsensational sensuality that eludes American filmmakers, this movie proves again that the most interesting cinema about teenage life -- gay and otherwise -- is being made far from our provincial shores.
    • L.A. Weekly
    • tbd Metascore
    • 50 Chuck Wilson
    Intriguing yet muddled thriller.
    • 35 Metascore
    • 50 Chuck Wilson
    She is known as one of the great muses, yet director Bruce Beresford, Wynter and screenwriter Marilyn Levy are never clear if this is by design or chance.
    • tbd Metascore
    • 50 Chuck Wilson
    The dialogue and voice-over narration (by Gordon) are homily-heavy, and the staging sometimes awkward. The prison extras in particular are often left to stare blankly at the gut-wrenching action before them, with many, including Sutherland, looking awfully fit for men who've been starving for years.
    • 35 Metascore
    • 50 Chuck Wilson
    Stuck with flat material and a star more adept at responding to humor than generating it, director Stephen Herek, in a vain attempt to generate laughs, enlists Cedric the Entertainer, as a convict-turned-preacher.
    • 27 Metascore
    • 50 Chuck Wilson
    Gerber has a sharp cast at hand -- All work furiously, yet the director, with his fake backdrops and stately pacing, never settles on a consistent tone. Surely the novel had more bite.
    • tbd Metascore
    • 50 Chuck Wilson
    In Griggs's eyes, they're all fools. Only old Ronnie, dearly departed though he may be, is worthy of reverence.
    • tbd Metascore
    • 50 Chuck Wilson
    Silly and pretentious would-be romance.
    • tbd Metascore
    • 50 Chuck Wilson
    As producer, writer and star of his first movie, Ray Jahangard gets points for confidence and nerve, but at the end of the day, it must be said that not everyone is meant to work in the movies.
    • 41 Metascore
    • 50 Chuck Wilson
    Has no stylistic flair and little forward momentum, yet nearly every scene contains an amusing bit of business, much of it off to the side of the main action.
    • 37 Metascore
    • 50 Chuck Wilson
    A debut film that's more well-intentioned than funny.
    • 53 Metascore
    • 50 Chuck Wilson
    The final meet felt eternal to me, but little girls may love it all, and even if they don't, they're almost sure to practice their handstands when they get home.
    • 53 Metascore
    • 50 Chuck Wilson
    Bettauer means for Arthur and Joe's adventures to be a fable about empathy and hope, but her tone shifts awkwardly between silly and ponderous.
    • 37 Metascore
    • 50 Chuck Wilson
    The film takes on unexpected weight when Christian cops to his intense personal loneliness. That's not the stuff of high comedy, but it's brave and, in these days of rah-rah, everyone's-in-love gay media, rather refreshing.
    • 47 Metascore
    • 50 Chuck Wilson
    Throughout, Sullivan and Braun shine, making for a match so sexy and appealing that it's a shame Swain avoids their love life, an approach that doesn't exactly advance gay liberation -- or cinema.
    • 45 Metascore
    • 50 Chuck Wilson
    At its best, this uneven film by writer-director Dave Boyle suggests that going a bit nuts is a good thing for the rigid paterfamilias.
    • 40 Metascore
    • 50 Chuck Wilson
    It's all pure hokum, perfect for a Shirley MacLaine remake, but it's lovely to see Lafont carrying a film so effortlessly.
    • 44 Metascore
    • 50 Chuck Wilson
    More problematic is "Inside Out," starring Jason Gould, who also wrote and directed, based on his own experiences as the son of Barbra Streisand and Elliott Gould.
    • 48 Metascore
    • 50 Chuck Wilson
    Posey and Rudd are the real deal, so it's almost sad when Priscilla and Jack are left hanging in the final act, their issues unresolved. It's as if the filmmakers lost their nerve when it came time to write the kind of intimate, revealing conversation that can make a sex toy unnecessary.
    • 66 Metascore
    • 50 Chuck Wilson
    The finale goes on and on, but the movie is nicely photographed (by John Bailey) and duly empowering, and should please the vast teen-girl audience for which it's intended.
    • 62 Metascore
    • 50 Chuck Wilson
    While some may bail early, those who stay to the end are likely to dwell on Zahedi's unwavering (some would say unrelenting) belief in his own artistry, as well as the film's many funny, quotable lines.
    • 53 Metascore
    • 50 Chuck Wilson
    If none of it is particularly original or insightful, it's nonetheless executed with skill and economy.
    • 37 Metascore
    • 50 Chuck Wilson
    Only Chris Klein, as the lovesick live-in boyfriend of Becky's sister, is given anything like an active emotional arc to play, and he runs with it so beautifully that he steals the movie.
    • tbd Metascore
    • 50 Chuck Wilson
    More amiable than laugh-out-loud funny, the film pokes along, buoyed by the motel's bright Hawaiian color scheme, and a moonlit desert finale that's awfully pretty.
    • tbd Metascore
    • 50 Chuck Wilson
    In this lively romantic comedy from Canada, actors Wendy Crewson and Joe Cobden give off sparks -- in bed and out.
    • 66 Metascore
    • 50 Chuck Wilson
    Rose Marie was — and is — a fabulous talent, but this off-kilter documentary doesn’t completely make the case.
    • 56 Metascore
    • 50 Chuck Wilson
    Rich in lovingly assembled silent-film clips, as well as in intimate views of the magnificent Mole, this impassioned yet somewhat too precious fable from writer-director Davide Ferrario feels calculated to make a cineaste swoon, and yet . . . it never quite does.
    • 33 Metascore
    • 50 Chuck Wilson
    Generating gore-free unease through sound effects and scary faces is the specialty of director Takashi Shimizu, who helmed the original series (known in Japan as Ju-On). He creates some unsettling moments here, particularly a well-staged scene involving a body under the sheets and a man in a shower, but the evil ghost itself is a predictable, one-trick pony.
    • 29 Metascore
    • 50 Chuck Wilson
    Making his directorial debut, Dunstan displays a knack for building suspense. And yet, weirdly, amidst all the requisite blood spray, one senses a reluctance on the filmmaker’s part to linger lovingly over the pierced skins and protruding entrails of the killer’s various victims.
    • 34 Metascore
    • 50 Chuck Wilson
    A thriller whose storytelling ingredients are so familiar that one could watch it with the sound off and still know what's going on.

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