For 630 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: 61
Highest review score: 100 Basket Case
Lowest review score: 0 The Eyes of My Mother
Score distribution:
630 movie reviews
    • tbd Metascore
    • 50 Chuck Bowen
    Writer-director Neasa Hardiman’s film is undone by earnestness.
    • 73 Metascore
    • 75 Chuck Bowen
    In Deerskin, Quentin Dupieux mines the absurdism that is his signature with newfound forcefulness.
    • 56 Metascore
    • 75 Chuck Bowen
    The film allows that we are complicit in privilege for our fascination and envy.
    • 55 Metascore
    • 75 Chuck Bowen
    Abel Ferrara doesn’t require traditional dream logic, as his grasp of the nitty-gritty quotidian of longing is inherently uncanny.
    • 66 Metascore
    • 75 Chuck Bowen
    Fortunately for the film, Carlo Mirabella-Davis continually springs scenes that either transcend or justify his preaching.
    • 77 Metascore
    • 75 Chuck Bowen
    With The Assistant, writer-director Kitty Green offers a top-to-bottom portrait of incremental dehumanization, and, on its terms, the film is aesthetically, tonally immaculate.
    • 61 Metascore
    • 63 Chuck Bowen
    What distinguishes the film from much of its ilk is Albert Shin’s ongoing taste for peculiar and unsettling details.
    • 62 Metascore
    • 63 Chuck Bowen
    Robertson’s sense of having witnessed friends and collaborators get washed away by bitterness and addiction was more fulsomely evoked by The Last Waltz.
    • 61 Metascore
    • 50 Chuck Bowen
    The filmmakers allow their characters to learn the usual humanist lessons, in the process eliding the ramifications of their scenario.
    • 80 Metascore
    • 75 Chuck Bowen
    The film’s awkwardness is expressive of the pain and confusion of wrestling with truths that shake one’s conception of identity.
    • 72 Metascore
    • 63 Chuck Bowen
    Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.
    • 61 Metascore
    • 63 Chuck Bowen
    Outside of the Easy Money series, Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
    • 48 Metascore
    • 63 Chuck Bowen
    The film’s skittishness is particularly maddening considering that Woody Allen has nothing to artistically to prove.
    • 77 Metascore
    • 75 Chuck Bowen
    Chinonye Chukwu’s film is a morality play with a true sense of contradiction and melancholia.
    • 68 Metascore
    • 63 Chuck Bowen
    The documentary is enjoyable, but one suspects that its subject may have found it soft.
    • 68 Metascore
    • 63 Chuck Bowen
    Ironically, Clint Eastwood is as condescending of Jewell as the bureaucrats he despises.
    • 81 Metascore
    • 75 Chuck Bowen
    It’s the mix of the humane and the calculating that gives the film its empathetic power.
    • 81 Metascore
    • 75 Chuck Bowen
    Strickland’s film is another fetish object that rues the perils of fetishism.
    • 60 Metascore
    • 75 Chuck Bowen
    Jessica Hausner confidently expresses a thorny and disturbing theme, though perhaps with too much confidence.
    • 61 Metascore
    • 63 Chuck Bowen
    Kim Longinotto is so eager to celebrate her hero that she also glides past thornier portions of Letizia Battaglia’s life.
    • 32 Metascore
    • 38 Chuck Bowen
    The film too often suggests an Under Siege that’s been pointlessly larded with critters from Jumanji.
    • 53 Metascore
    • 38 Chuck Bowen
    Viewed charitably, Logan Marshall-Green’s sketchy protagonist and vague atmosphere are meant to achieve the effect of a parable.
    • 51 Metascore
    • 50 Chuck Bowen
    Graham Swon undermines our expectations of horror-movie conceits, attempting to tap the primordial manna of oral storytelling.
    • 76 Metascore
    • 63 Chuck Bowen
    After its promising first act, Craig Brewer’s film becomes a series of fleeting bits, allowing questions to pile up.
    • 72 Metascore
    • 63 Chuck Bowen
    For all the film’s invention, for all its trickiness, it doesn’t really move.
    • 63 Metascore
    • 75 Chuck Bowen
    The film is in tune with the need to remain lucid and empathetic while in the maw of human extremity.
    • 31 Metascore
    • 38 Chuck Bowen
    With the filmmakers unwilling to explore a kinky, psychosexual bond between a man and his demonic lady ghost-boat, Mary comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
    • 64 Metascore
    • 75 Chuck Bowen
    Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders.
    • 46 Metascore
    • 38 Chuck Bowen
    Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
    • 77 Metascore
    • 75 Chuck Bowen
    First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.

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