For 785 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 2.8 points lower than other critics. (0-100 point scale)

Chuck Bowen's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Basket Case
Lowest review score: 0 The Eyes of My Mother
Score distribution:
785 movie reviews
    • 71 Metascore
    • 25 Chuck Bowen
    Prey proves to be an apropos title, as the film is cowed by John McTiernan’s original Predator.
    • 66 Metascore
    • 63 Chuck Bowen
    Though its lack of emotional escalation could be read as intentional, Vengeance is ground to a repetitive halt by B.J. Novak’s preaching.
    • 81 Metascore
    • 88 Chuck Bowen
    The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society.
    • 80 Metascore
    • 75 Chuck Bowen
    Mad God offers a dense cornucopia of genre-fueled outrageousness that’s gradually united by a concern with cycles of warfare.
    • 42 Metascore
    • 38 Chuck Bowen
    With his Deception, Arnaud Desplechin renders one of a great author’s slighter works titanic by comparison.
    • tbd Metascore
    • 88 Chuck Bowen
    The Cathedral is a deeply humanist film, but it’s also a relentlessly bleak exorcism of a family’s intolerances.
    • 53 Metascore
    • 50 Chuck Bowen
    After a dangerous, even personal, first half, Deep Water becomes crude in all the wrong ways.
    • 96 Metascore
    • 88 Chuck Bowen
    There’s a reason Sansho the Bailiff is often greeted by critics and audiences with something akin to rapture: It’s a work that divorces the existential riddles of faith from regimented dogma, favoring instead the practical challenges, contradictions, and ambiguities of life as it’s often lived.
    • 66 Metascore
    • 50 Chuck Bowen
    As is typically the case with Joe Wright's films, one is left both exhilarated and exhausted, wishing that he had been more interested in the material at the center of his house of flourishes.
    • 70 Metascore
    • 50 Chuck Bowen
    Guillermo del Toro's remake of Nightmare Alley is less a living and breathing movie than a fossilized riff on the idea of a movie, particularly the American noir.
    • 41 Metascore
    • 25 Chuck Bowen
    The Unforgivable is devoid of all textures and emotions that don’t readily affirm the film’s rigid worldview of redemption.
    • 61 Metascore
    • 38 Chuck Bowen
    Zeros and Ones is the unwelcome spectacle of a bad boy attempting to apologize for his badness.
    • 72 Metascore
    • 75 Chuck Bowen
    Underneath the film’s seeming casualness is an astute portrait of alcoholism, as well as a knowing glimpse of how micro tensions affect macro power plays, from pissing contests between men to sexual violations.
    • tbd Metascore
    • 75 Chuck Bowen
    Jacob Gentry’s film punches through all the layers of homage to arrive at a place of true horror.
    • 71 Metascore
    • 63 Chuck Bowen
    At their best, writer-director Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.
    • 88 Metascore
    • 88 Chuck Bowen
    The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same.
    • 58 Metascore
    • 75 Chuck Bowen
    The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly religious.
    • 90 Metascore
    • 75 Chuck Bowen
    Robert Greene’s gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process.
    • 57 Metascore
    • 50 Chuck Bowen
    France indecisively utilizes a news personality’s crocodile tears as a symbol of the bad faith that pervades news discourse.
    • 79 Metascore
    • 63 Chuck Bowen
    Wife of a Spy could use a streak of live-wire, huckster crudeness, a bit of melodrama delivered in an unselfconscious manner.
    • 77 Metascore
    • 75 Chuck Bowen
    Paul Schrader’s film grows more heated and crazed as the chaos of the past bleeds into a repressed present.
    • 56 Metascore
    • 63 Chuck Bowen
    The film hauntingly suggests that a man’s most rational move in a rigged society is to fade away into the ecosystem.
    • 36 Metascore
    • 38 Chuck Bowen
    Like District 9, the film is a genre outing with big ideas that’s more committed to the power of arsenals and pyrotechnics.
    • 85 Metascore
    • 88 Chuck Bowen
    In Wang Nanfu’s extraordinary documentary, contemporary political structures are as much of a disease as Covid-19, and, in the long run, the deadlier foes.
    • 69 Metascore
    • 63 Chuck Bowen
    At its best, Matt Yoka’s documentary vividly captures how personal demons shape creative output.
    • 52 Metascore
    • 50 Chuck Bowen
    Rarely do the filmmakers show people mutually affecting one another in cycles of pain and control, rather than blaming phantom figures.
    • 87 Metascore
    • 88 Chuck Bowen
    The film is an obsessive rumination on the little squabbles and inconveniences and pleasures that add up to the bulk of our lives.
    • 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.

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