For 753 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 The Age of Innocence
Lowest review score: 0 Queen of the Desert
Score distribution:
753 movie reviews
    • 74 Metascore
    • 75 Chuck Bowen
    The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
    • 58 Metascore
    • 63 Chuck Bowen
    Mama Weed is intended to wash over you, leaving good vibes in its wake, but it doesn’t challenge Isabelle Huppert or the audience.
    • 82 Metascore
    • 75 Chuck Bowen
    Pig
    Nicolas Cage, in full martyr mode here, seems to get off on the perversity of, well, caging his brand of operatic hysteria.
    • 76 Metascore
    • 75 Chuck Bowen
    With One Sudden Move, Steven Soderbergh mixes an old-school 1950s noir with a modern sense of social self-consciousness.
    • 75 Metascore
    • 88 Chuck Bowen
    Janicza Bravo prioritizes character and personal eccentricity, in the process truly earning the screenplay’s cutting observations about how social media encapsulates culture’s ability to commercialize anything, especially ourselves.
    • 66 Metascore
    • 63 Chuck Bowen
    The film becomes unexpectedly, effectively violent just when you’ve written it off as a glorified SNL sketch.
    • 79 Metascore
    • 75 Chuck Bowen
    It’s Morgan Neville’s impression of Bourdain as a time bomb existing in plain sight that allows Roadrunner to be more than a greatest-hits rundown of the man’s life.
    • 77 Metascore
    • 75 Chuck Bowen
    With The Amusement Park, George Romero holds a cracked (funhouse) mirror up to a callous and ultimately terrified society.
    • tbd Metascore
    • 75 Chuck Bowen
    The characters don’t exist solely to affirm the film’s various themes, and as a result, their humanity gets under your skin.
    • tbd Metascore
    • 38 Chuck Bowen
    Throughout, it’s difficult to sort the contrivances that writer-director Jason William Lee is parodying from those he’s indulging.
    • 45 Metascore
    • 63 Chuck Bowen
    Simon Barrett imbues his narrative with a purplish emotionality that the Urban Legend movies didn’t even think to bother with.
    • 62 Metascore
    • 38 Chuck Bowen
    The film utilizes a trendy issue as window dressing for a tedious and delusional exploitation film-slash-museum piece.
    • 57 Metascore
    • 38 Chuck Bowen
    The film’s masterful prologue writes a check that the remainder of this very long, very indulgent film labors mightily to cash.
    • 76 Metascore
    • 88 Chuck Bowen
    Theo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
    • 81 Metascore
    • 63 Chuck Bowen
    Ultimately, Anders Thomas Jensen cannot reconcile the fact that a mature story of men in crisis doesn’t coherently mesh with suspense scenes in which his protagonist viscerally annihilates a violent gang.
    • 57 Metascore
    • 63 Chuck Bowen
    Cacophony eventually takes over Wrath of Man, stranding the actors in the process. Except, that is, for Jason Statham, who’s by now a master of presiding over Guy Ritchie’s gleeful chaos.
    • 67 Metascore
    • 63 Chuck Bowen
    At its best, Oxygen successfully approximates the feel of an escape room.
    • 82 Metascore
    • 63 Chuck Bowen
    A comedy about the migrant crisis is more daring than a coming-of-age story, and Limbo, wanting it both ways, dilutes its best instincts with sops to formula.
    • 80 Metascore
    • 75 Chuck Bowen
    Jeffrey Wolf’s documentary is a spry and inventive account of extraordinary transcendence.
    • 46 Metascore
    • 50 Chuck Bowen
    The film doesn’t quite cut to the heart of the socially nurtured fantasies that splinter men from women.
    • 36 Metascore
    • 38 Chuck Bowen
    Writer-director Evan Spiliotopoulos barely capitalizes on the luridly sacrilegious implications of the film’s premise.
    • 32 Metascore
    • 25 Chuck Bowen
    Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
    • 50 Metascore
    • 38 Chuck Bowen
    The film misses the opportunity for a suspenseful interweaving of sports spectatorship and its characters’ high-stakes gambits.
    • 64 Metascore
    • 38 Chuck Bowen
    The film offers chaos by the yard with no real stakes or emotional reverberations.
    • 64 Metascore
    • 75 Chuck Bowen
    The film is both a lurid urban thriller and an earnest parable about (almost literally) walking a mile in someone else’s shoes.
    • 82 Metascore
    • 75 Chuck Bowen
    Alonso Ruizpalacios voices a profound sense of powerlessness on the part of the police without sentimentalizing the abuses and biases of the profession.
    • 53 Metascore
    • 63 Chuck Bowen
    Unlike Malcom & Marie, Daniel Brühl’s feature-length directorial debut proves to be authentically self-castigating.
    • 82 Metascore
    • 88 Chuck Bowen
    Ryûsuke Hamaguchi’s film is an alternately scathing, erotic, terrifying, and affirming fable of the primordial power of storytelling.
    • 72 Metascore
    • 88 Chuck Bowen
    The film is a modern melodrama of grit, beauty, jagged edges, and resonant dead ends and false starts.
    • 52 Metascore
    • 12 Chuck Bowen
    Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin.

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